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THE SONG-GARDEN.— THIRD BOOK.
| BCSTl
THE SONG-GARDEN:
A i>J lES of school music books, progressively arranged.
EACH BOOK COMPLETE 1 1ST ITSELF.
THIRD BOOK.
.-/A
BY LOWELL MASON,
DOCTOR OP MUSIC.
B OS T o :
OLIVER DITSON & COMPANY, 277 WASHINGTON STREET.
NEW YORK: CHARLES. H. DJTSON & COMPANY.
<to 5^. ft ^ B -
Entered, according to Act of Congress, in the year 1866, by
MASON BROTHERS,
In the Clerk's Office of the District Court of the United States for the Southern District of New York.
ZN TJTftUI? 2>A%TS. " The 7wurs are quickly flying."
The hours are qyick-ly fly - ing, With care those hours employ, Be watch-fill, be watch-ful, with care those hours em - ploy ;
3-d . . 1 1-.. _ . , 1 (— . — 1
— *— — 1 1 1 — H 1 1 — ^ 1 M — ^ — ""1 — ^ ^-1 — ^ 1 — ^ 1 L
p 1 i i 1 I 1 1 i ll' 'll ri — ^ t^TF^ 1 ^"FF^^ 1 i-
ii i | i n — if
That gives an - oth - er joy.
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PREFACE.
The Song-Garden is- designed to furnish a series of music
books for schools and families, progressively arranged. It com-
prises three books, each of ■which is complete in itself, and may
be used separately. The First Book contains simple, easy, and
beautiful songs, with elementary exercises for children or begin-
ners. The Second Book contains songs of a more advanced
grade, with the elements of music and its notation more fully
set forth. The Elementary Department is divided into the Theo-
retical and the Practical. In the former, matters of fact are
stated in a preceptive form, and with careful attention to accu-
racy of expression and definition. In the latter the pupil is
gradually led along through such difficulties, in various keys,
as ordinarily occur in part music, so that if one becomes
thoroughly and practically acquainted with it, he will be pre-
pared to join in the glees and choruses of the best writers. A
large selection of songs concludes the work.
In this Third Book will be found, first, a careful recapitula-
tion of the principles of music in an interrogatory form, de-
signed as a thorough review of the instructions contained in
Part Second. Answers to the questions have only been given
where it was thought, that from the frequent errors in definition
found in many books of musical instruction, the learner might
be in doubt or in error. This catechetical department is fol-
lowed by a Table, intended as an Index to Transposition, in
which the pitch of tones is indicated by letters, and the relation
of tones by figures ; together with an explanation of the man-
ner of using the same. The Table is succeeded by an essay on
Vocal Culture, containing hints on some of the more important
points in the training of the voice ; and this is followed by
illustrative musical examples, consisting of lessons or exercises,
both vocalizing and syllabic for its more complete development.
To these are added short pieces of figural and fughetto char-
acter designed to aid in the acquisition of independence in
reading music and part-singing, an achievement in musical
education not always attained in any great perfection. The
whole introductory part of the work has been prepared with no
little care, and it is hoped that it will be found acceptable and
useful as well to those who are engaged in private teaching, as
to teachers of classes of the higher grade in Academies, Semin-
aries, and Collegiate Institutes. "While it will be found pecu-
PBEFACE.
liarly adapted to classes of females in young ladies' seminaries,
it is believed that by the arrangement of its harmony parts, it
is also well fitted to schools of men's, or of mixed voices.
The Song Department is filled with pieces drawn from the
contributions of those who have occupied very diverse fields of
labor. But the Song-Gardens of Germany have received so
long and so successful a culture as to be filled with flowers of
most rare brilliancy and fragrance, so that having free access to
very many of these beautiful grounds, with full freedom to cull,
what musical florist could forbear to do so ?
In this department of the book, therefore, will be found many
charming school, home, and educational songs, both instructive
and entertaining. Some have been published before, and have
proved popular and useful, especially a few favorites often
wanted in schools, as " Home, sweet home," " Auld lang Syne/'
•etc., but for the most part they are new, at least so in an English
garb. There is also variety, even from Handel down to Men-
delssohn. Many of them have been arranged in three parts
for equal voices, either male or female, and of these the base
part may be sung by women's voices, or an octave lower by
men's voices. In many songs which are written in four parts
the Tenor may be omitted, and the harmony be complete in
three parts. It is certain that wherever the true fragrance of
these flowers is received it must, in accordance with circum-
stances, afford delight.
The editor cannot close these remarks without expressing
grateful acknowledgments to music teachers and others from
whom he has received kindly assistance. He also acknowledges
his indebtedness to the works of many distinguished teachers
which have been consulted, but principally to those of Garcia,
Panseron, and Panofka.
But he is especially indebted to the late Dr. Aug. A. Gould,
of Boston, Mass., for furnishing, by his own hand, the drawing
from which the plate showing the position of the moreimportan
vocal organs, was engraved. Dr. Gould, also, kindly read the
article on Vocal Culture, making such corrections as seemed to
him desirable in those parts of the work relating to the physi-
ology and anatomy of the vocal organs.
The editor closes these prefatory remarks by bearing his tes-
timony, being the result of long experience and observation, to
the great advantages of music, when under a proper conduct,
in schools, in the family, in the social circle, in the exercises of
public worship, and with proper adaptation, in„all the various
circumstances of life.
Note.— The breathing exercises, commencing at the fifth paragraph on page 28, were mostly received from a friend, -without the knowledge that
they had been taken from notes of the teachings of Mr Lewis B. Munroe, the popular teacher of elocution in the Boston Schools. Mr. Munroe having
kindly consented to make a few corrections in them, they now appear in an improved form.
BRIEF REVIEW
OF THE
ELEMENTS OE MUSIC AID OE ITS NOTATION,
AFTER THE INTERROGATORY MANNER.
CHAPTER I.
INTRODUCTORY.
The following questions and answers will readily be received by such
persons as have had thorough elementary musical instruction, and will
be found to express in a direct, simple and logical manner the facts of
the subject ; thus, refreshing the memory, and helping to correct any
previous misunderstanding, which may be found to exist in relation to
them. To others they may present views perhaps new, in whole or in
part, and which may require thought and reflection. Let sucli give to
thought and reflection their proper exercise and influence, unobstructed
by prejudice, preconceived opinions, associations or habits, and it is be-
lieved that ere long the truth will appear.
Throughout the examination here implied it should not be regarded
as satisfactory evidence of a thorough knowledge of the subjects pre-
sented that correct answers in words are promptly given ; but, in ad-
dition to this there should also be manifested, as an essential requisite,
an ability to do, by the immediate production, independently of instru-
mental or foreign aid, of tones in such relations as to afford suitable
practical illustrations of the theoretical facts advanced ; or by a quick
tonal response to the lead of the questions, viva voce; thus exemplifying
the reality of the things named, defined or described.
For a more preceptive and explanatory form of instruction, see Song-
Gauden, Part II. : Theoretical Department.
1. How many distinctions or differences exist in the essential nature
of musical sounds or tones ?
2. What is the first ? — They are long or short.
3. What is the second ? — They are low or high.
4. What is the third ? — They are soft or loud.
5. How many properties or conditions are consequently necessary to
the existence of a tone ?
6. What property or condition, as necessary to the existence of a tone,
is consequent upon the first distinction named ? — Length.
7. What upon the second ? — Pitch.
8. What upon the third ?— Force.
9. How many departments, therefore, will be convenient in treating of
10. What is the department called which treats of the length of
tones ? — Rhythmics.
11. What is the department called which -treats of pitch 1—Mehdics.
12. What is the department called which treats of force ? — Dynamics.
Note.— Another characteristic of tones necessarr, not to their existence, but to their power
to iifforcl pleisuro is that of a good quality or timbre.
G
BRIEF REVIEW OF THE
CHAPTER II.
RHYTHMICS.
13. By what names are tones distinguished in the department of
Rhythmics ? — By the name of a whole, or integer, together with those of
such of its fractional parts as may be required ; as, Whole, Half, Quarter,
Eighth, Sixteenth, etc.
Note.— Sometimes called Semibreve, Minim, Crotchet, Quavc'r, Semiquaver, etc.
14. What do these names indicate ? — Comparative or relative duration
or length.
15. May a tone be seen, or must it be heard ?
16. What are those characters called by which the relative length of
tones is represented to the eye ?
17. How many kinds of notes are required ? — As many as there are
tone-lengths to represent.
18. From what are the notes named? — From the names of the tones
which they represent, viz. : Whole, Half, Quarter, etc.
19. May notes be heard, or must they be seen ?
20. What is occasional silence called in music ? — Resting.
21. What are the characters named which indicate silence? — Rests, as
Whole, Half, Quarter, etc.
22. What character is that which adds to the significance of a note or
rest one-half of its length 1—A dot, or point of addition.
23. By what character may three-fourths be added to the significance
of a note or rest ?— Double dot, or doidile point of addition.
24. What character is used to indicate the diminution of the ioint
length of any three notes one-third, or to that of two without the char-
acter ? — The figure 3, called a mark of diminution.
Note.— Other figure* are sometimes used for a similar purpose, indication" diminution of
length in accordance with the figure employed, as 5, 6, 7, etc.
CHAPTER HI.
MEASUREMENT OF TONES.
25. By what is the relative length of tones compared or measured ?—
By a division of time into equal portions.
26. What are such portions of time called ? — Measures and parts of
measures.
27. By what may measures or parts of measures be made manifest to
the ear ? — By equal counting.
28. By what may they be manifested to the eye ? — By equal motions,
as of the hand or fore-arm.
KINDS OF MEASURE.
29. How many kinds of measure are there in common use ? — Four.
30. Upon what does the kind of measure depend?— The number of
its parts.
31. If a measure has two parts, what is it called ?— Double measure.
32. Which is the strong or accented part in Double measure.
33. What figure is used as a sign of Double measure? — The figure
two (2).
34. If a measure has three parts, what is it called t
35. Which is the accented part in Triple measure ?
36. What is the sign of Triple measure ? — The figure three (3).
37. If a measure has four parts, what is it called ?
38. Which parts are accented ?
39. By what figure designated ?— By the figure four (4).
40. If a measure has six parts, what is it called ?
41. Which parts are accented ?
42. How designated ?— By the figure six (6).
VARIETIES OF MEASURE.
43. How many varieties may there be In each kind of measure ? — As
many as there are kinds of notes.
ELEMENTS OF MUSIC AND OF ITS NOTATION.
7
44. What determines variety of measure? — The hind of note used on
each part of the measure.
45. What determines the hind of measure ? — The number of its parts.
46. What are used as signs of variety of measure ? — Figures, repre-
senting comparative tone-length; as, 2, 4, 8, etc.
47. When figures are used to designate both the hind and the variety
of measure, in what form are they written ? — In the same form as when
used to represent fractions.
48. What is indicated by the numerator 1—The kind of measure.
49. What is indicated by the denominator? — The variety of measure.
50. How are written measures (signs or notations of measures) in-
dicated ? — By vertical lines, called Bars.
51. What is the use of bars? — They mark the "boundaries of written
measures.
52. What sign is used to show the end of a strain, or line of poetry,
or close of a piece of music ? — A Double Bar or a Close.
SYNCOPE.
53. When a tone commences on an unaccented part of a measure and
is continued on an accented part of a measure, thereby changing the
accent, what is such a change or tone called ? — A Syncope, or syncopa-
ted tone.
54. Is it comparatively easy or difficult to sing syncopated tones or
passages ?— Difficult.
55. Does it require much or but little practice ? — Much practice.
56. Are syncopated tones or passages generally well or not well per-
formed ?— Not well.
CHAPTEE IV.
MELODICS. — THE SCALE— INTERVALS— STAFF.
57. What is that department called which treats of the pitch of
58. What is that series of tones, in which they are disposed or ar-
ranged with reference to the relation of pitch, called ?
59. From whence is this name derived 1—Frvm tlie Italian Scala,
meaning a ladder.
60. How many tones constitute the scale ?
61. How are the scale tones named ? — From the names of numbers; at,
one, two, three, four five, six, seven and eight.
62. In what consists the difference between the scale tones?
63. What is the difference of pitch between two tones called?
64. What is an interval ? — The difference of pitch between two tones.
65. How many tones must be heard in order to make manifest or
give an idea of an interval ?
66. How many intervals are there in the regularly progressive scale ?
67. Are the scale intervals alike, or do they differ ?
68. How many kinds of intervals are there in the scale ? — Two.
69. In what do they differ ? — In magnitude.
70. How many of the larger intervals are there in the scale ?
71. How many of the smaller?
72. What are the larger scale intervals called ? — Steps.
73. What are the smaller scale intervals called ? — Half-steps.
SYLLABLES.
74. What syllables in singing are usually applied to the scale tones? —
Do, Be, Mi, Fa, Sol, La, Si, Do.
75. In what order are the syllables applied to the scale ? — Do to One,
Be to Two, Me to Three, Fa to Four, Sol to Five, La to Six, Si to Seven,
Do to Eight.
76. Of what use are syllables in learning to sing? — They familiarize
relative pitch, and thus lead to the practical knowledge of intervals.
-The principle is that of mental association ; after a little practice each syllable be-
ing !y i
:kly t.
dated « itn the pitch of tl
" •"M'l'li"'
though it has been introduced in i
In Italy and in France the same syllables are u5ed f..r a v"erv different purpose, or fur the
same purpose for which letters are used in Germany, England and America, viz.: to indicate
absolute pitch. But this is utterly destructive of that for which they were originally intended
8
BRIEF REVIEW OF THE
by Guido Aretlno, who first made use of them In the eleventh century. Ho applied them not
to designate absolute but relative or scale pitch, as Ut to the tone One, lie to the tone Two,
Mi to Three, etc., in whatever key the music may be written. This is the only way in which
they can be applied so as to be useful in class-teaching; but in this, their proper use alter the
manner of Guido, they may afford essential help to the pupil in taking the tones, Whatever
may be the interval, independently or instrumental aid. The use of the syllables in singing
Is called solfainy, or singing by sol/a, or nolmization. Singing to single syllable or open
vowel, is called vocalizing. The word Scald (Italian for scale) has long been in use for
vocalizing purposes.
THE STAFF
77. By what character is relative pitch, or the scale indicated ? — By
the Staff.
78. Of what may the staff be regarded as an emblem, sign, or pic-
ture?— Of the scale.
79. "What constitutes the character called the staff? — Five parallel
horizontal lines with their intermediate spaces.
80. What is each line and each space of the staff called ? — A degree.
81. How many degrees are there in the staff?
82. If more than nine degrees are wanted, how can they be supplied ?
83. If the first line of the staff be supposed to represent the tone One,
by what degree will Two be represented ?
84. Is each tone "of the scale necessarily represented by some one par-
tular degree of the staff, or may any degree be taken to represent either
of the tones of the scale ?
85. By what characters are the different degrees of the staff made to
represent particular tones ? — By Notes.
86. By what characters is the order of succession of tones indi-
cated ?— By Notes.
87. Are notes primarily melodic or rhythmic characters ? — Rhythmic
cliaravters.
88. What do notes primarily represent ? — The relative length of
tones.
89. What do notes indicate when used for a melodic purpose in con-
nection with the staff? — The order of succession of tones.
90. Does the staff rej>resent any definite or absolute pitch, or relative
pitch only ? — Relative pitch only.
CHAPTER Y.
ABSOLUTE PITCH— MODEL SCALE— CLEFS.
91. What is that pitch called which is in itself independent of scale-
relationship ? — Absolute pitch.
92. From what is absolute pitch named ? — From the name of letters.
93. What characters (signs) are used to designate absolute pitch ? —
Letters themselves, A, B, C, J), E, F, O.
94. Must the pitch of the scale be always the same, or may it bo
changed, and any pitch be taken as One ?
95. What is the name of that pitch which is taken as One in the first
or model scale ?
96. What are the component tones (absolute pitch) of the model scale,
or Scale of C ?
97. In what way may the absolute pitch of tones be represented in
connection with their scale-relationship ? — By connecting the signs of
absolute pitch with the staff.
98. Will this require that all the letters be written upon the staff, or
is a single one sufficient ? — One is sufficient.
99. What is the letter called which is used for this purpose? — A
Clefs
100. What is a Clef ?— A letter applied to the staff to indicate absolute
pitch.
101. What are the most common clef-letters? — F and G.
102. What other letter is sometimes used for a Clef?
103. The letter C is used both for Alto and Tenor voices.
104. Upon what degree of the staff is the F-clef usually placed ?
105. Upon what decree of the staff is the G-clef usually placed ?
106. In the use of the F-clef what degree of the staff will represent
One?
107. In the use of the G-clef what degree of the staff will represent
One?
ELEMENTS OF MUSIC AND OF ITS NOTATION.
0
CHAPTER VI.
SCALE EXTENDED. — CLASSIFICATION OF VOICES.
108. What is the order or classification of such tones as are higher in
pitch than eight of the scale ? — TJie same series of tones {or the scale) is
repeated but at a higJier pitch.
109. What is the order or classification of such tones as are lower in
pitch than one of the scale ? — The same series of tones (or the scale) is re-
pented but at a lower pitch.
■ 110. Are the tones of the higher and the lower scales just alike, or do
they in any respect differ ?
111. In what do they differ?
112. In what respect are they alike ? — In their relations to each otlier.
113. What is the general compass of the human voice ? — Three octaves.
114. At what pitch ? — From the capital G to the twice marled small g.
115. By what signs or names may the different octaves be distin-
guished ? — By different sized or marked, letters.
116. What are the signs of the lowest octave of the vocal compass ? —
The lowest three tones are noted by capitals, the remainder Iry small letters.
117. What are the signs of the middle octave ? — The lowest three tones
are noted by small letters, the remainder by once marked small letters.
118. What are the signs by which the highest octave is distinguished ? —
The lowest three tones are noted by once marked small letters, the remainder
by twice marked small letters.
ILLUSTRATION.*
f g a b c d e
G A B c d
119. What is the most common distinction of pitch in the human
voice ? — That of men's voices and women's voices.
* For nn illustration of the entire compass of tones appreciable by tho human ear, consis
Ing o.' about nine octaves. Bee Sono Garden, Part II, Chapter VI.
120. What is the usual compass of men's voices ?* — About two octaves.
121. At what pitch ? — From capital G to once marked small g.
122. What are the lower voices of men called ?
123. What is the average compass of Base voices ? — From capital G to
the once marked small c.
124. What are the higher voices of men called ?
125. What is the average compass of Tenor voices ? — From small c to
once marked small g.
126. What is the average compass of women's voices? — About two
octaves.
127. At what pitch ? — From small g to twice marked small g.
128. What are the lower voices of women called?
129. What is the average compass of Alto voices ? — From small g to
twice marked small c.
130. What are the higher voices of women called ? — Treble or Soprano,
131. What is the average compass of the Treble voice ? — From once
marked small c to twice jnarked small g.
(digression.)
132. What is the usual pitch of children's voices, both boys and
girls? — The same as that of women'' s voices.
133. What is the usual compass of children's voices? — Very variable,
but less than that of adults.
134. May it be regarded as generally safe or dangerous to the vocal
organs to attempt to extend the compass of children's voices by en-
couraging them to sing as high or as low as possible ? — Dangerous.
* Tho compas:
s only v
rally ,]
lO
BRIEF REVIEW OF THE
135. Is it safe or unsafe to encourage children or others to prolong a
tone by holding their breath as long as possible? — Unsafe.
136. Should children be encouraged to sing as loud as possible, or in
a more gentle manner ? — In a more gentle manner.
137. May children be taught to sing in a comparatively tasteful style,
or is it necessary that they should be left to sing in a stiff, hard, coarse,
unfeeling and repulsive manner ?— Judge ye.
(return TO fTHE subject.)
138. "Which F is indicated by the F-clef ?— Small i.
139. Which G is indicated by the G-clef ? — The once marked small g.
140. For what voices is the F-clef mostly used ?
141. When is the F-clef used for Tenor voices? — When the Tenor is
written upon the same staff with the Base.
142. For what voices is the G-clef properly used ?— Treble and Alto.
143. For what other voices is it sometimes used ? — Tenor.
144. When the G-clef is used for men's voices (Tenor), which G is
indicated by it? — The small g, being an octave lower than its legitimate use
for women's voices.
CHAPTER VII.
INTERVALS.
145. What is an interval ? — The difference of pitch between two tones.
146. What is the sign of an interval ? — Tlie degrees of the staff by which
its boundaries are indicated.
147. How many kinds of intervals are there in the regularly progres-
sive scale ?
148. By what names are the scale-intervals distinguished ? — Steps and
Half-steps.
149. From whence do they derive these names? — From the ward scale
(scald), signifying a ladder; as this word is used as a name for the series of
tones so called, so the intervals also derive their names {steps) from the same
figure.
150. What other intervals are there, occasioned by skipping, or de-
viating from the regular scale succession ? — Seconds, Thirds, Fourths,
Fifths, Sixths, Sevenths, Eighths or Octaves, etc.
^NoTE.-Steps are intervals of the samc^magnitude as seconds, and the ono term will bo ex-
151. Are intervals reckoned from the higher to the lower, or from the
lower to the higher of the tones between which they occur ?
152. When two tones are precisely of the same pitch what are they
called ? — Unison.
153. What is the interval between any tone and that which is next
above it in the regular scale series called ? — A Second.
154. How many kinds of seconds are there? — Two.
155. What are they called ? — Major (large) and Minor (small).*
156. What is the interval between one and two ? — Major second.
157. Between two and three ? — Major second.
158. Between three and four ? — Minor second.
159. Between four and five ? — Major second.
160. Between five and six ? — Major second.
161. Between six and seven? — Major second.
162. Between seven and eight ? — Minor second.
163. What is the difference between steps and half-steps, and Major
and Minor seconds ? — There is none, but in name.\
THIRDS.
164. What is the interval between one and three called ?— A Major
third.
* Corresponding to steps and half-steps.
t The terms steps and half-steps are more intelligible in first describing the scale intervals
than those of Major and Minor seconds (which belong rather to the study of harmony), since
they naturally arise out of the idea of the musical scale or bidder ; they are also at all times
afterwards convenient in defining the magnitude of intervals. The scale-intervals are often
called tones and half-tones, but the inconvenience of using the same names both for tones
themselves and also for the difference of pitch between them is obvious.
ELEMENTS OF MUSIC
165. Between two and four ? — Minor third.
166. Between three and five ? — Minor third.
167. Between four and six ? — Major third.
168. Between five and seven ? — Major third.
169. Between six and eight? — Minor third.
170. Between seven and nine (or two of the scale above) ? — Minor third.
171. What is the magnitude of a Minor third ? — A step and a half-step.
172. What is the magnitude of a Major third? — Two steps.
FOURTHS.
173. What is the interval between one and four called ? — A' perfect
fourth.
174. What is the interval between two and five ? — A perfect fourth.
175. Between three and six ? — A perfect fourth.
176. Between four and seven ? — A. sharp fourth.
177. Between five and eight ? — A perfect fourth.
178. Between six and nine ? — A perfect fourth.
179. What is the magnitude of a perfect fourth? — Two steps and a
half-step.
180. What is the magnitude of a sharp fourth ? — Three steps.
FIFTHS.
181. What is the interval between one and five called? — A perfect
fifth.
182. Between two and six? — A perfect fifth.
183. Between three and seven ? — A perfect fifth.
184. Between four and eight?— A perfect fifth.
185. Between five and nine ? — A perfect fifth.
186. Between six and ten (three above) ?— A perfect fifth.
187. Between seven and eleven (four above)? — Aflat fifth.
188. mat is the magnitude of a perfect fifth 1— Three steps and a
half-step.
189. What is the magnitude of a flat fifth?— Two steps and two half-
tteps.
AND ITS NOTATION. H
'sixths.
190. What is the interval between one and six called ? — A Major sixth.
191. Between two and seven ? — A Major sixth.
192. Between three and eight ?— A Minor sixth.
193. What is the magnitude of a Major sixth ?— Four steps and a
half-step.
194. What is the magnitude of a Minor sixth 1— Three steps and two
half-steps.
SEVENTHS.
195. What is the interval between one and seven called ? — A sharp
seventh.
196. Between two and eight? — Aflat seventh.
197. What is the magnitude of a sharp seventh ? — Five steps and a
half-step.
198. What is the magnitude of a flat seventh ? — Four steps and two
half-steps.
OCTAVE.
199. What is the interval between one and eight? — An octave.
200. What is the magnitude of an octave ? — Five steps and two half-steps.
CHAPTER Till.
INTERMEDIATE TONES.-CHROMATIC SCALE.
201. Between what tones of the scale may intermediate tones occur or
be readily distinguished ? — Between all such tones as differ by the in-
terval of a step.
202. Are these intermediate tones positively different from the scale-
tones, or are they a modification by elevation or depression of them ? —
They are absolutely different tones.
203. In what do they differ from the scale tones ? — In pitch.
12
BRIEF REVIEW OF THE
204. Is it possible or impossible to change the pitch of a tone ?
205. Which are those tones of the scale, differing by a step, between
which intermediate tones may occur ? — One and Two, Two and Three,
Four and Five, Five and Six, Six and Seven.
206. What are the smallest intervals known in modern practical
music ? — Half-steps.
207. From what are intermediate tones named I—From either of the
tones between which they occur.
208. When the intermediate tone between one and two is named
from the former of these, what is it called ? — Sharp-<me.
209. What is the meaning of the word sharp when thus technically
used ? — Higher.
Note.— That is, sharp-one is the namo of a tone which is higher than one.
210. When the intermediate tone between one and two is named from
the latter of these, what is it called ? — Flat-two.
211. What is the meaning of the word flat when thus technically
used ? — Lower.
Note.— That is, Flat-two is the namo of a tone which is lower than two.
212. Is it possible or impossible to sharp the tone one, that is, raise
or elevate it in pitch ? — Impossible.
213. Is it possible or impossible to flat the tone two, that is, to lower
or depress it in pitch ? — Impossible.
214. Is it possible or impossible to elevate or raise the pitch of any
tone by a sharp, or to depress or lower the pitch of any tone by a flat ?
215. Is it proper or improper, then, to speak of elevating or depressing
a tone ?
216. Do the tones, named sharp-one and flat-two, differ in pitch, or
are both practically the same pitch ? — Both are practically the same pitch.
217. Why, then, are they called by different names ? — Because tliey differ
in their relation to other tones, or to the scale as based on different pitches, in
which they appear as component parts.
Note.— The various keys, as will be seen in the chapters on Transposition, render a twofold
218. What is the name of C-sharp as related to the scale of CI—
Sharp-one.
219. What is the pitch of sharp-one, if occurring in the scale of C ? —
C-sharp.
220. What is the name of D-flat as related to the scale of C?—
Flat-two.
221. What is the pitch of flat-two, if occurring in the scale of C ? —
D-flat.
222. How are the tones named, flat or sharp (intermediate tones),
noted or indicated by the staff? — By such a modification or change in the
staff as may be required for that purpose.
223. By what character may the staff or any of its degrees be so modi-
fied as to indicate or represent a tone named sharp.? — By a character
called a sharp.
224. By what character may the staff or any of its degrees be so
modified as to indicate or represent a tone named flat ? — By a character
called aflat.
225. What is the signification of the word sharp, as technically used
in music ?
226. What is the signification of the word flat, as technically used in
227. How far does the significance of a sharp or flat (character) ex-
tend ? — Through the written measure in which it occurs.
Not*.— This nsaee is not universal ; and the safest way is so to mark the degree of the stuff,
as that it shall, without any uncertainty, represent the tone required.
228. What character is used to terminate the significance of a sharp
or a flat ?— A Natural.
229. How many intermediate tones may be readily distinguished be-
tween the regular tones of the scale ?
230. What is that scale called which consists of thirteen tones, includ-
ing the eight scale tones and the five intermediate tones ? — The Chromatic
Scale.
231. How many intervals are there in the chromatic scale i— Twelve.
232. Are the intervals in the chromatic scale all practically alike, or
do they differ ?
ELEMENTS OF MUSIC AND OF ITS NOTATION.
13
233. What is their magnitude ? — Half a step.
Notk. — Besides the intervals to which reference hns already been made, there nro others,
derived from the Chromatic scale, and variously named by different authors; as. Diminished,
Augmented, Superfluous, Extreme, etc. But as they belons rather to the study of harmony
th»n that of singing, any further noticing thom is here omitted.
CHAPTER IX.
THE MINOR SCALE.
234. What is the model or C-scale, consisting of eight tones, called,
to distinguish it from the chromatic scale ? — The Diatonic Scale.
235. What other diatonic scale is there ? — The Minor Scale.
236. In what respect does the minor scale differ in its structure from
the model or major scale ? — In the order of its intervals.
237. How many forms has the minor scale? — Several, out principally
three.
238. What are they called ? — Natural, Harmonic and Melodic.
239. What are the constituent tones in the natural model minor
scale ?— A, B, G, D, E, F, O.
240. What are the constituent tones of the model harmonic scale ? —
A, B, G, D, E, F, 0%
241. What are the constituent tones of the model melodic minor
scale?— A, B, G, D, E, F% 0%.
242. When the melodic minor scale is used in ascending, what form
is most commonly employed in descending ? — The Natural.
243. When is the minor scale said to be parallel, or relative to the
major scale ? — When it is based upon, or commences with six of the major.
244. When is the major scale said to be parallel, or relative to the
minor scale ? — When it is based upon, or commences with three of the minor.
245. What is the parallel minor to C-major ?
246. "What is the parallel major to A-minor?
CHAPTER X.
TRANSPOSITION OF THE SCALE.
247. In what consists the transposition of the scale ? — In the change of
its pitch.
248. What is the pitch taken as one called?— The ley.
249. In what key is the model scale ? — In the ley of G.
250. How many tones are required to constitute a key ?— Seven.
251. What tones constitute the key of C ?— C, D, E, F, G, A, and B.
252. What is the meaning of the word key when thus used? — The
relationship of the tones thus brought together, or figuratively, a tone-family.
253. In transposing the scale, is the relation or the pitch of the tones
changed ?
254. What must remain unchanged ? — The relation of tones, or the order
of intervals.
255. How may the order of the scale intervals, or the relation of its
tones be preserved, if its pitch be changed ? — By the disuse of such tones
as may not be required, and the use of such intermediate tones, as may be
necessary to constitute the new key.
256. How are the different keys noted or designated ? — By sharps or
fats at the beginning of a piece of music.
257. What are such flats or sharps, at the beginning of a piece,
called ? — The signature.
258. What is indicated by the signature of any particular key? — The
component tones of that key.
259. What is the signature to the key of CI— The absence of all fats
and sliarps.
260. Why are neither flats nor sharps required in the signature of the
key of C ? — Because this, as the model scale, includes no intermediate tone ;
or, because it is constructed without any of the tones named fat or sharp.
261. What is the most natural order of transposition from any key ? —
To that to which it is most nearly related ?
262. What constitutes key relationship ? — Tones in common. .
14:
BRIEF REVIEW OF THE
263. Which are those keys which are nearest related ? — Those which have
all but one of their tones in common.
264. By what intervals must transposition proceed, so as to preserve
this nearest relation ? — By fifths or by fourths.
TRANSPOSITION BY FIFTHS. — C TO G.
265. What is the pitch of the model scale ? — C.
266. What is the pitch (in this key) of sharp-four. — F%
267. What is* the pitch of Five ?— G.
268. What is the interval between C and G?— A Fifth.
269. If, then, the scale be transposed from C a fifth, what will be its
pitch ?
270. What pitch is one in the key ot G ?
271. If G be one what will be two ?
272. What will be three ?
273. What will be four ?
274. What will be five ?
275. What will be six ?
276. And what is required for seven in the key of G ? — F#.
277. Why is Fj required as seven in the key of G ? — That the proper
order of intervals may be preserved in accordance with the model scale.
278. What is F# in its relation to the key of C '{—Sharp-four.
279. What is F#in the key of G ?— Seven.
280. What tone is that (as related to the key of C), on which trans-
position to the key of G depends ? — Sharp-four.
281. What is that tone, on which transposition from any key to its
fifth depends '{—Sharp-four.
282. What tones constitute the key of G ?
283. What tone has the key of C which does not belong to the key
of G?
284. What tone has the key of G which does not belong to the key
of C ?
285. What tones have the two keys, C and G, in common ?
286. What is six in the key of G ?
287. What key is the parallel minor to the key of G f
288. What is the signature to the key of G ?— F§.
289. What is the signature to the key of E-minor ? — F$.
290. Why is the same signature used for the two parallel keys ? — Be-
cause F# is required in both.
FROM G TO D.
291. What is five in the key of G ?
292. What then is the fifth to G ?
293. What is the next key to G, proceeding in the order of fifths ?
294. What must be the pitch of one in the key of D ?
295. If D be one what will be two ?
296. What is three?
297. What is four?
298. What is five?
299. What is six ?
300. What must be taken for seven in the key of D ? — C#.
301. What is C in the key of G ?
302. What is the relation of Cjf to the key of G ?
303. Why is C# required as seven in the key of D ? — To preserve the
proper order of intervals.
304. What are the constituent tones (pitch) in the key of D ? — D, E,
F% G, A, B, 0%
305. What tone has the key of G, which does not belong to the key
of D?
306. What tone has the key of D, which does not belong to the key
of G?
307. What is the absolute pitch of one in the key of D ?
308. What is the relative pitch of D in the key of D ?
309. What is D in the key of G ?
310. What is D in the key of C ?
311. What tones have the two keys G and D in common 1—G, A, B,
B, E, F#.
312. What is six in the key of D ?
313. What key is the parallel minor to that of D ?
314. What is the signature to the keys of D-major and B-minor?—
F# and 0%
ELEMENTS OF MUSIC AND ITS NOTATION.
15
FROM D A.
315. What is five in the key of D ?
316. What, then, is the fifth to D ?
317. What must be taken as one in the key of A I
318. What as two ?
319. What as three ?
320. What as four ?
321. What as five ?
322. What as six ?
823. What as seven ?
324. What is four in the key of D ?
325. What is the relation of G# to the key of D ?— Sharp-four.
326. Why is G# required as seven in the key of A 1—That the order of
intervals may correspond to that of the model scale ; or so that the proper
relations of the key-tones may le preserved.
327. What are the constituent tones in the key of A 1—A, B, Ct, D,
328. What is the relative pitch of A in the key of A?
329. What is A in the key of D ?
330. What is A in the key of G ?
331. What is A in the key of C ?
332. What is D in the key of D ?
333. What is D in the key of G? etc.
334. What is six in the key of A ?
335. What key is the parallel minor to A ?
336. What key is the parallel major to Pjf minor ?
337. What is the signature to the keys of A-major and F#-muior?—
Three sharps; viz.: F% C% and Gjf.
PROM A TO E.
338. What is one in the key of E ?
339. What is the relation of E to A ?— It is its fifth,
340. What relation is A to E ?— It is its fourth.
841. What is sharp-four to E ?— A%
342. What is the tone of transposition from any tone to its fifth ?—
Sharp-four.
343. If E be taken as one, which must be two ? — Ft.
344. What must be three 1—GjL /
345. What four 1—A.
346. What five?— B.
347. What six?— Ctt.
348. What seven 1—D$.
349. Why D#for sev en ?— The order of intervals in the ley of E require
D$ as seven.
350. What are the constituent tones of the key of E ?— E, Ft, Gt,
351. What is the parallel minor to E ?— C%
352. What is the parallel major to Qjf minor ? — E.
353. What is the signature to the parallel keys of E-major and CJf-
minor ?— Four sharps; as, F% G% G% an^
Nora— Keys which, in transposition by fifths, are moro remote from the model key then
that of E, are but seldom found in vocal music ; those hereafter noticed, therefore, are of leg*
practical importance.
FROM E TO B. — SAME AS cjj.
354. What pitch is that which is a fifth to E ?— B.
355. In the regular sequence of transposition by fifths, what key fol-
lows that of E ?
356. What is sharp-four in the key of E ?— A$.
357. What then must be taken for seven in the new key, or key of
B? — A%
358. How many tones named sharp are required in the key of B ? —
Five.
359. What are they?— F% 0% G% D% A%
360. What are constituent tones in the key of B ?— B, C% D$, E, F%
16
BKIEF BEVIEW OF THE
FROM B TO F$. — SAME AS 6^.
361. What is the fifth to B ?— F$.
362. What is four in the key of B %—E.
363. What is sharp-four in the key of B 1—E%
364. What must be taken as seven in the key of F ? — E$.
365. What tones are required to constitute the key of Fjf ? — F$, 0%
A% B, e% D& M
366. By what other name is the same pitch as E# called ? — F.
367. Why have two names for the same pitch ? — Because, while the tone
remains the same in its pitch, its relation changes, and from this arises the
TMcessity of a change of name.
Note. — E is four in the key of B ; Eg is sharp-four toB, and is therefore required for seven
in the key of Ff, the next key in regular succession by fifths to B. F (which is practically the
game pitch in the musical system, is not sharp-four to B, but is flat-five to B. The different
relation of the same tone requires a different name and treatment ; so in some of the relations
of life such changes are made as require like changes of name and action.
FROM F# TO C§. — SAME AS jfy.
868. What is the fifth to FJf ?— 0$,
369. What is the next key to that of F#, proceeding by fifths ?— C%
870. What is four in the key of Fjf ?— B.
371. What is sharp-four in the key of F$ 1—B%
372. What, then, is required for seven in the key of C#?— B#.
373. What are the component tones in the key of Cj£ ?— OjL Dft, EjL
374. What is the signature of the key of C#?— Seven sharps: F% C%
0% D$, A% M% B#.
FEOM C# TO Of.— SAME AS A^.
875. What is four in the key of C# ?— F%
376. What is sharp-four in the key of C# ?— Fx (F-double-sharp.)
377. What is required as seven in the key of G# ? — Fx.
378. What tones constitute the key of G#?— G% A% B% C#,
E% Fx.
Note.— Transposition by fifths might proceed further, bnt it would be quite useless : In-
leed, it has been brought thus far mostly for the purpose of bringing in legitimately, or
caching by a regular order of succession, the tone named F-double-sharp. g 7'
TRANSPOSITION BY FOURTHS.
379. What is the pitch of the model scale ?— C.
380. What is the pitch of its flat-seven 1—B-jlat.
381. What is the pitch of four in the key of C ?— F.
382. What is the interval between C and F ?— A fourth.
383. If the scale be transposed from C a fourth, what will be its
pitch?— F.
384. What pitch is one in the key of F 1—F.
385. What is two ?— G.
386. What is three \—A.
387. What is four ?— B\,.
388. What is five ?— C.
389. What is six ?— D.
390. What is seven ?— E.
391. Why is Bb required as four in the key of F ?— That the proper
order of intervals be preserved ; or, that it may conform to the model scale in
its intervals.
392. What intervals would be wrong, if B should be taken as four in-
stead of Bjj.— That between three and four, and that between four and five.
393. What would be the interval between three and four, if B be
taken as four ? — A step.
394. What must be the interval between three and four ? — Half-step.
395. What would be the interval between four and five, if B be taken
as four ? — Half-step.
396. What must be the interval between four and five ? — A step.
397. What is the relation of B[> to the key of C ?— Flat-seven.
398. What is B[> in the key of F \—Four.
399. What totfe is that as related to the key of C, on which transposi-
tion to the key of F depends ?— Flat-seven.
ELEMENTS OF MUSIC
400. What tone is that upon which transposition from any key to its
fourth depends ? — Flat-seven.
401. What tones constitute the key of F ?— F, G, A, By, C, D, E.
402. What tone lias the key of C, which does not belong to the key
of F ?— B.
403. What tone has the key of F, which does not*elong to the key
of C ?— Bh.
404. What tones have the two keys in common? — C, B, E, F, G, A.
405. What is six in the key of F ?— B.
406. What key is the parallel minor to the key of F ? — D.
407. What is the signature to these two parallel keys ? — B^.
FROM F TO Bjj.
408. What is the pitch of flat-seven in the key of F ?— Ey.
409. What is the fourth to By \—Ey.
410. In transposition by fourths, what is the next key to F ? — By.
411. What are the component tones in the key of By ? — By, C, B,
Ey, F, G, A.
412. Why is Eh necessary as four in the key of By ? — To preserve the
identity of scale intervals.
413. How many intervals would be wrong, if E was taken instead of
Eh ?— Two.
414. Which intervals would be wrong ? — Between three and four, and
four and five.
415. What, in such case, would be the interval between three and
four ? — A step.
416. What would be the interval between four and five ? — A half-step.
417. What tone has the key of F, which does not belong to the key
of Bh ?— E.
» 418. What tone has the key of Bh, which does not belong to the key
ofF?— Eb.
419. What tones have the two keys in common ? — C, B, F, G, A, By.
420. What is six in the key of Bh ?— G.
.421. What key is the parallel minor to the key of Bh ? — G.
AND ITS NOTATION. 17
422. What is the signature to the keys Bh-major and G-minor ?— Bh
and Eh. ■
FROM Bh TO Eh.
423. What tone is seven in the key of Bh ?— A.
424. What is flat-seven ?
425. In transposing by fourths, what is the next key to that of
Bh %-Ey.
426. What is the tone of transposition, or of change, from any key to
that of its fourth ?— Flat-seven.
427. What is the pitch of flat-seven in the key of Bh ?— Ay.
428. What must be taken as four in the key of Bh ? — Ay.
429. What are the component tones of the key of Eh ?— Ey, F, G,
Ay, B\>, C, D.
430. What is the order of transposition by fourths from C to Eh ?—
C to F, F to By, By to Ey.
431. What is six in the key of Eh ?— C.
432. What is the relative minor to Eh-major ? — C.
433. What is the relative major to C-minor? — Ey.
434. What is the signature to the keys Eh-major and C-minor ? — B*y,
Ey and Ay.
FROM Eh TO Ah.
435. What is four in the key of Eh ?— Ay.
436. What is flat-seven to Eh ?— Bjy.
437. What is the tone of transposition from any key to its fourth ? —
Flat-seven.
438. What intermediate tone, named flat, in addition to Bh, Eh and
Ah, is required for the key of Ay ? — By.
439. What is the consecutive order of keys in transposing by fourths
from C ?— F, By, Ey\ Ay.
440. What is the order of succession in which the tones, named fk\t,
are required in transposing by fourths ? — By, Eh, Ay, By.
441. What is six in the key A-flat ?— F.
18
BRIEF REVIEW OF THE
442. What is the parallel minor to Ay ? — F.
443. What is the parallel major to F-minor? — Ay.
444. What is the signature to the key of AI7 and its parallel minor ? —
Four flats.
FROM Ay TO T>y. — SAME AS C+f.
445. What is four in the key of Aly ?— By.
446. In transposing by fourths, what key is next in order to Ay ? — Dry.
447. What tones constitute the key of Dh, ?— By, Ey, F, G'y, Ay, By, G.
FROM Dy TO Q\}. — SAME AS
448. What is flat-seven in the key of By 1—Cy.
449. What is four in the key of G'y 1—Cy.
450. In the regular sequence of transposition by fourths, what key
succeeds that of D'y ? — Cry.
451. What tones arc required to constitute the key of Gy ? — G'y, Ay,
By, Gy. B\>, Ey, F.
452. What tone is the same pitch as that of Cb, but called by a
different name ? — B.
453. Why will not the name B answer as well as that of Cj> in the key
of G|? ? — Because B does not belong to the key of Gy, or is not one of its con-
stituent tones.
454. In what key is the tone B not only the same pitch as that of Gy,
but also relatively the same »— In the ley of F%.
455. In what respects do the keys of 'Gy and F# differ 2— In names
and notation.
456. In what respects are they alike? — In the pitch of their tones.
FROM dy TO Cjj. — SAME AS B.
457. What is flat-seven in the key of Gy ?— Fy.
458. What is four in the key of Gy 1—Cy.
459. What is the next key, in the order of transposition by fourths, to
that of Gy'i—Cy.
460. What are the constituent tones of the key of Gy 1—Cy, By, Ey,
Fy, Gy, Ay, By.
FROM dy TO F^. — SAME AS E.
* 461. What is four in the key of Gy ?— Fty
462. What is the next key, in transposition by fourths, to that of
Gy 1-Fy.
463. What is the tone of transposition from the key of Gy to that of
Fy ?— B\yy {B-double-flat) .
464. What tones are required to constitute the key of Fy ? — Fy, Gy,
Ay, By'y, Cy, By, Ey.
465. What tone is the same pitch as Fy, though called by another
name ? — E.
466. Why not, in the transposition by fourths, take E for the next key
to Cy, instead of Fy ? — Because E is not the fourth to Cfc, neither are the
two (E and Fy) in name or in notation the same.
467. By what change may this be done, or by Avhat change may the
pass be made directly from the key of Gy to that of E ? — By an enhar-
monic change.
'""(See TabXr View of Transposition, etc., at the en.l of these questions.)
ELEMENTS OF MUSIC AND OF ITS NOTATION.
10
CHAPTER XT.
468. What are those tones called which are often introduced for grace-
ful or tasteful purposes into a melody ?— Passing Tones.
469. When a passing tone precedes an essential tone on an accented
tone of the measure, what is it called I —Appoggiatura. v.
470. What is intant by an essential tone ?— One which necessarily belongs
to the chord in which it is found.
471. When a passing tone follows an essential tone on an unaccented
part of a measure, what is it called? — After Tone.
472. What is the rapid alternation of a tone with the next tone in
regular succession above it called ? — Shake or Trill.
473. When a tone is sung in rapid succession with the conjoint tones
above and below, what is it called ? — A Turn.
Note.— There aro many forms of turns to which it is not necessary here to alludo.
474. When successive tones are produced in a closely connected man-
ner, or intervolved, what is the style of singing called ? — Legato.
475. Is a good legato one of easy or difficult attainment ? — Difficult.
476. Is legato the rule, or is it the exception in song ? — The rule.
477. When tones are produced in a very short, pointed, or articulate
manner, what is the style of singing called ? — Staccato.
478. Is staccato the rule in ordinary singing, or the exception? — The
exception.
479. What i3 that style of singing called which is intermediate between
legato and staccato ? — Martellata.
480. When the voice is instantaneously conducted from one tone to
another by an almost imperceptible glide, what is the style of singing
called '{—Portamento.
481. Is a good portamento easy, or difficult of acquisition? — Very
difficult.
482. How may the difficulty be overcome? — By diligent practice under
the guidance of a skillful teacher.
483. Is it wise or unwise to attempt portamento without suitable pre-
vious study ? — Unwise.
484. Does portamento belong to chorus or to solo finging ? — To solo
singing.
485. What is the prolongation of a tone beyond its indicated length
called ? — A Pause.
486. When are pauses most effectively introduced ? — At a climax or
culminating point.
CHAPTER XII.
DYNAMICS.— FORCE OF TONES.
487. What is a tone of medium force called ? — Mezzo.
488. What is a tone somewhat softer than mezzo called ? — Piano.
489. What is a tone somewhat louder than mezzo called ? — Forte
490. What is a tone softer than piano called ?— Pianissimo.
491. What is a tone louder than forte called ? — Fortissimo.
492. How many principal degrees of tones are there ? — Five.
493. What others may be employed ? — Mezzo piano, Mezzo forte, etc.
CHAPTER XIII.
FORMS OF TONES.
494. What is a tone called when it begins, continues and ends with
the same degree of force? — Organ Tone.
495. How may the organ tone be indicated ?— By parallel lines.
496. What is a tone called which, commenoing piano, gradually in-
creases to forte ? — Crescendo.
497. How may the crescendo be noted ? — By divergent lines. — =z
498. What is a tone called which, commencing forte, gradually di-
minishes to piano? — Diminuendo or decrescendo.
499. How may the diminuendo be noted ? — By convergent lines. z==—
20
ELEMENTS OF MUSIC AND OF ITS NOTATION.
500. What is the union of the crescendo and the diminuendo called ? —
Swell.
501. How may the swell be noted ? — By the union of divergent and con-
vergent lines. — =rz^==-
Notk. — The swell is also called the drawn tone. " To draw the tones well," says the dis-
tinguished teacher, Garcia, " is to be a good singer."
502. What is a very sudden or instantaneous crescendo cailed ? — Pres-
sure Tone.
503. How may the pressure tone be noted ? — By abrupt divergent
lines. -=
504. What is a very sudden or instantaneous diminish of a tone from
loud to soft called ? — Sforzc.ndo or fortzando. In elocution the same is
called the Explosive Tone.
505. How is the sforzando noted ? — By short abrupt convergent
EXPLANATION AND MANNER OF USING THE TABLE.
This table is not designed to be committed to memory, but rather
to awaken thought and comparison, and through them to lead to vocal
action in all the variety of transpositions which may occur. It is in-
tended as an index, pointing out the various changes, and aiding in the
immediate transfer of absolute to relative pitch. Thus, by an instan-
taneous mental change of any pitch from its relation in any key to that
of its relation in any other key, the student will be enabled to make the
real transposition or vocal change.
Those especially who have been trained to the proper use of the syl-
lables, Do, Re, Mi, etc., in accordance with their legitimate use, as origin-
ally designed by Guido Aretino, who in the eleventh century first applied
them, not as names of absolute pitch, but as connected with scale or rela-
tive pitch, will have formed such an association between syllables and
tones, as instantly to be reminded by the one of the other, and thus
change of relationship or transposition will be made, the pupils passing
from one key to another with comparative ease and certainty.
The teacher will be able, either with or without the table before him,
to call for the different tones by their names, and thus to indicate such
changes as he may desuy to be made.
The thirteen horizontal rows of larger figures represent entire scales ;
the smaller figures indicate parts of scales at an octave higher or lower
pitch than those of the larger size ; intervals (steps and half-steps) are
indicated by distances between the figures on each line.
The model scale, or key of C, is represented by the central row ; above
it is represented a regular sequence of transpositions, proceeding by
fifths, as G, D, A, E, B, FJf. Below it are represented, also in sequential
order, six other transpositions, proceeding by fourths ; as, F, Bk Ek. Ah,
The vertical columns of dots, twenty-four in number, represent the
chromatic scale, its tones being indicated by letters and flats below, and
by letters and sharps above. EJf being required in the key of FJf as
seven, is represented at the same point as F, the two tones differing
practically only in name and notation. So also the tone Cjj, being re-
quired as fow^n the key of G^, is represented at the same point as that
of B, the two being in pitch practically the same.
The pupils need not necessarily have the table before them, though it
may sometimes be convenient thus to be aided by sight.
1. The tone five being taken as that from which the change is to be
made — the tone five changed in its relation from five to one.
Let the scale in the key of C be sung, and by repetition be fully fixed
in the mind. The teacher may then call successively for the following
named tones: One, Two, Three, Four, Five; the pupils responding to
the call by producing each tone, as it is named, in connection with its
appropriate syllable, as Do, Re, Mi, Fa, Sol. After sufficient repetition,
especially of the tone five (syllable Sol), the teacher asks : " What is
the pitch of five !" — Ans. G. The teacher then gives the direction :
INDEX TO TRANSPOSITION; or, A TABULAR VIEW REPRESENTING THE TWELVE KEYS,
(FJf and Gfc being practically the same,)
THEIR COMPONENT TONES, AND MELODIC RELATIONS.
M
Key.
n-
B -
E
:— l— f
F -
Bi>— 1
E> — 5
Afr — h
Tb — e
CrV— 3
—2-
t— i
— i
f I A
£ —
B C if D
-2 — ; — 3—4
3-4
—5
^-3-4-
— 3—4 5-
1 2-
k— -— 6-
— 5— — 6— — 7— 8-
3—4 — ;
i
2-
: — 6—
3-4-
*-6-
-7—8— — h-
-2— -
— r
-£— i
-2— — $-4— ;— 5
_6 7_8 j
-3—4 — — 5 6—
-7— £ — ; — k — ■ — 3
-3—4-
-f— 1-
5— —6— —7
1— f^$— — £— 4— f
5 6 7—8
2 3—4 5
-—7-6—;
-7—8-
b i> 1? E
b G- b
A > B, C
A
— ; — b
— i — E
-6— A
— 4 — D
-i- -o
-i-c
-7-6-
-7—8-
-3— F
-t— Bb
-j— E>
A>
-— Db
4— Gb
b D b E F b
22
EXPLANATION AND MANNER OF USING THE TABLE.
Sing G as one }*' upon which the class, retaining the same pitch,
change the syllable from Sol to Do. The teacher asks : " If G be one,
what is the key ?" — Ans. G. The pupils may then be required to sing
the scale, in whole or in part, ascending or descending, or both, in the
key of G ; thus the first transposition by fifths is made. They may
proceed in the same manner, as fast as they may do so with" certainty,
from G to D ; from D to A ; from A to E ; from E to B ; and from B to
F#. When this has been doDe the transposition by fifths has been
completed.
„ny bo ,
ulo with equal ease to tbat of G'j.
2. The tone four being taken as that from which the change is to be
made — the tone four changed in its relation from four to one. (Less mi-
nutely described.)
Commencing again with the scale of C, the pupils are required to sing
the tone " One, Two, Three, Four." Teacher asks : " What is the pitch
of four?" — Ans. F. Teacher directs: "Sing F as one," or " Change
the relation of F from four to one." Pupils sing at the same pitch,
but change the syllable Fa for that of Do. Teacher asks : u If F be one,
what is the key ?"— Ans. F. The scale may now be sung in the key of F.
After the same manner the class may fiass through the following
named keys in regular succession : From F to Bp ; from Bj? to E[j ;
from E[? to A|? ; from Ajy to T)\) ; from D[? to G\> ; thus completing
transposition by a sequence of fourths.
3. Commencing with the key of C, and taking the tone one as that
on which the change shall be made, the transposition may be to any other
key, however remote, of which C is a component tone; as,
To the key of G in which C is Four,
N * II « F u » « Fiye)
II II II II gj. (I II (■ II Two,
« « " " Er, " " " " Six,
u ii ii it Aj? « « " « Three, and
ii u « ii « « « n Seven.
4. Or, taking the tone two in the key of C (D) as that on which the
change shall be made, the transposition may be to any other key of which
D is a component tone ; as,
To the key of G
i which D is Five,
" ' Two,
5. Or, taking three in the key of C (E) as that on which the change
shall be made, the transposition may be to any other key of which E is
' tone; as,
To the key of G in which E is Six,
II II II u J) U « II II Two>
" " " " A " " " " Five,
« " " " E " " " " One,
ii 4i it ii j3 ii « ii « Four,
r, transposition may be made from
[vhich F is One,
" " " Five,
" " " Two,
G. Proceeding in a similar mai
four in the key of C (F),
To the key of F :
« « « « Bfe
« « « « Afe
(l tl ii a jy^ II a u a Three,
« u ii K u u u a Seven.
Or, instead of the last transposition it may be made by an enharmonic
change from the key of D[? to that of F#, in which, notwithstanding all
the tones change both their names and their signs, in pitch they remain
practically the same.
EXPLANATION AND MANNER OF USING THE TABLE. 23
7. After the same manner the transposition may be made from five in
key of C (G) ; as,
To the key of G in which G is One,
" " Four,
' Two,
' Six, '
' Three,
' Seven.
" " " " Ej, "
" " " " Ab "
8. From six in the key of C (A) the changes are as follows :
To the key of G in which A is Two,
D " " « « Five,
A " " « " One,
E " " " " Four,
F « « " « Three,
Bj? " « " " Seven.
9. From seven in the key of C (pitch B) the changes are :
To the key of G in which B is Three,
" " Six,
" Two,
" Five,
" One,
" Four.
Or, by an enharmonic change, the last transposition may be made from
B to the key of G^, in which the pitch rrf the tones remains *the same,
but names and notation differ.
10. But not only may each tone in the scale of C be taken as the
transition tone, but also each tone of the scale in every other key may
be also thus taken ; so also changes may be made from major to minor
and vice versa, thus exhausting the subject by all the transpositions
We fill a part of a pago here, otherwise blank, with the following Mis-
cellaneous Suggestions, to be followed or not, according to circumstances.
1. Let the pupil be thoroughly trained to one exercise before proceeding
to another more difficult.
2. Sing each lesson three times — first, forte, second, mezzo, and third, piano.
3. Sing a lesson Moderato at first, and afterwards increase to Allegro, ac-
cording to the character of the music and the ability of the pupil.
4. In order to avoid singing out of tune, think carefully of the pitch of a
tone before giving it utterance.
5. The last tone of a passage, tune, or melody should not ordinarily be
prolonged to the full extent represented by the note, but should be some-
what shortened.
G. Seek not merely for the entertainment or the amusement which is
afforded by song, but look higher, even to its educational influence in
physical, social, and moral life.
7. Avoid tha,t vulgarity which seeks by music, or otherwise, to raise a
laugh at the expense of good taste and improvement.
8. Music should not he regarded merely as a relaxation from severer
Study, but as in itself a study, both pleasing and useful.
9. It is not necessary that a strictly didactic purpose should always be
apparent in a musical exercise, yet more or less instruction should always
be civen.
10. Never seek to make a song exercise merely funny.
11. The true singer must draw heavily, not only upon his intellectual
and emotional nature, but also upon his whole physical system ; as the
organs of circulation, or the arteries and veins ; the organs of perception
and sensation, or the nerves ; the organs of motion, and especially those of
respiration, or the muscles ; the organs of hearing, or the ears ; the organs
of voice, or the trachea, larynx, etc. ; the organs of speech and of articula-
tion, or the tongue, teeth, palate, lips, etc. Indeed, oratorical song as well
as speech demands the whole man.
12. In the function of respiration the lungs are nearly passive. The
dilatation of the cavity of the chest, which is simultaneous with inspira-
tion, is accomplished by the various muscles by which the chest is ex-
panded upwards, forwards, and laterally.
13. In teaching, the reality should ever be regarded as above the sign ;
the principle above the rule ; and the spirit above the letter.
14. Injurious to the voice. — 1st. Singing at too high or too low a pitch ;
straining after hi<rh tones. 2d. Prolonging too much the singing exercise.
3d. Singing immediately after eating, or when one is weary. 4th. Con-
versing in the rail-road cars, or wherever it is difficult to speak and difficult
to be heard. 5th. Exposure to the humidity of the night air, especially
after singing loud and long. 6th. Singing when one has a oold, or is
hoarse, or feels any pain or inconvenience from the exercise of his voice.
Side view of a section of the head, showing the more essential vocal organs.
A BRIEF EXPOSITION
OF THE
PRINCIPAL VOCAL ORGANS,
AS REPRESENTED IN THE PLATE.
i.— The trachea, or wind-pipe; &
:htly movable and expansive, dividing «
for part into two bronchi or branch*
ich it connects with each of the lungs.
J.— The larynx, or music-box; this i
;ed at the upper nart of the trachea, o
sen the trach
ent of s<
e glotti
nail fissi
t of the lary
The folds of
...... ...e called the vocal cords.
The theory of the production of voice is, that
the breath being forced through the glottis, by
ition of the diaphragm upon the lungs,
these cords are. in position, causes them
rate, and sound is originated, the pitch of
depends upon the tension. The view
jed of the vocal organs in a living subject,
by the use of the laryngoscope, gives confirma-
tion of this theory.
G. — The uvula; t
ae hard
^ roof oft!
L The tongue.
K— The mouth.
L. — (Esophagus,
m.— The spinal
spina, or hack-hone.
n.-Nose.
o o o.-*-Turhinated hone
p.— Spinal cord.
rolongation of the soft
of the
E. — The pharynx ,
ortant part of tl
>m the glottis, ar
ound. The reservoir
atn, wnere it is held for vocal pur-
iists of the two lungs, located one in
are capable' of much expansion and
10. They may be fully developed by
u'uiauc and artistic breathing,
he muscle by which the power of respiration
xercised, is the diaphragm. This muscle of
uratioa separates the chest from the abdo-
n, being the floor of the one and the ceiling
the other, and naturally arches upwards,
ring inspiration it descends, and if crowded,
ses the abdomen to project ; in expiration it
srids, or if it has been crowded, first con-
i-eilofthepalah
tween tho mnii
rating the mou
ontinuation of tl
>art of tho sound-
Tho vocal clement is tho breath ; tho lungs
re its reservoir ; the throat is the tube through
fhich it passes ; tho diaphragm is the propel-
V O C A. L CULTURE.
The cultivation of the voice, if carried to any high degree of excel-
lence, must be by the aid of individual instruction or by private lessons
under the watchful care of a judicious teacher. Perhaps, no study
requires more vigilance and careful attention than that of the voice,
both as relates to song and to speech. Class teaching, when properly con-
ducted, is highly valuable as preparatory to that individual instruction
■which aims at higher artistic culture. It is even more favorable than
individual lessons to free and independent action, or to the ability to read
music unaided by instrumental or other support or lead, and is sufficient
of itself for the ordinary home or social purposes of song, especially if
taught in lessons of about an hour each, in small classes of from two to
four pupils, so that, in connection with simultaneous instruction, each
pupil may also receive personal attention, and witness the instructions
to the other members of the class. Whatever belongs to length of tones,
to measurement of time, to relation of pitch as exemplified in the scales,
major, minor and chromatic, to intervals, to transposition, to force and
form of tones, etc., is best acquired in classes, while to part or chorus
singing, class teaching is indispensable.
This work is designed principally as a help to class teaching. But as
there are no two classes alike, nor eveu two individuals, in whom there
is an exact correspondence in musical perceptibility, in vocal capacity, or
in the mental faculties under which the song-power is to be trained and
to exert its influence, the idea of giving definite rules or formulas of
instruction to be followed alike in all cases is far from being entertained.
There are, indeed, general principles relating to vocal culture by which
the intelligent teacher will always be governed, but the details of the
teaching and training processes must vary in accordance with the cir-
cumstances, habits and general condition of the students.
The course of proceeding for class instruction or for private study, in
many respects, is the same. No attempt will here be made to point it out
with minuteness, but leaving this to the intelligent teacher, some of the
more general essentials will be briefly noticed.
Caution. — The pupil should never continue to practice so as to pro-
duce positive fatigue, nor after the throat becomes parched or dry, or
any pain is felt ; but by frequent, earnest and careful exercises on such
tones as come within the easy range of the voice, let force be increased,
compass extended, quality improved, and style acquired, all in a gradual
and natural manner.
Position. — The pupil should stand erect, resting upon the ball of the
foot; let the. heels touch or nearly so and the toes be so turned out as to
form a right angle ; let the arms hang easily just behind the hips ; let the
body be brought square to the front. The chest should be somewhat
expanded and advanced by a slight and equal pressure of the shoulders
downward and backward. , The head should be held upright, but with-
out stiffness. Eyes forward. The pupil should so stand, that a line
from the ear will pass through the shoulder, hip and knee to the foot.
If there is too much inclination to bend forward, cross the hands on the
back. If at any time the sitting posture is required, sit so as to support
the lower part of the back, with the feet on the floor as in standing, with
head and body erect. All must be done easily and without strain of the
26
VOCAL CULTURE.
muscles. There should be no rhythmic movement of the head, hand, foot,
or any other part of the body, and especially nothing having the appear-
ance of affectation or peculiarity. The pupil should not remain too
long in any one fixed position.*
The Mouth. — The mouth should be well opened, a natural and not
forced modificatiou of it being allowed in conformity to the requirements
of the different vocal elements. For ordinary practice in the use of the
vowel d, two fingers one above the other between the teeth will not pro-
duce too great a width, and not unfrequently a wider opening will be
required. An agreeable formation, natural and without affectation is the
best. The tongue, for the sound a, should lie flat, with its point nearly
or slightly touching the teeth. The mouth, the teeth and lips, as also the
nasal cavities, have an important influence on the voice. When good-
nature, cheerfulness of disposition, buoyancy of spirits and warmth of
feeling prevail, the mouth, with all the other features, will usually
assume a right form and ajjpearance, prepared to do well its part. The
mouth should be opened before the delivery of the tone ; if not thus
opened the tone will be very liable to partake of a nasal or guttural quality.
Respiration. — An ability to control the organs of respiration is of the
first importance to the singer or speaker, and, although the power of a
deep inspiration is with some a gift of nature, careful practice of suit-
able exercises will do much to strengthen the breathing power. Respi-
ration comprises a double action ; First, inspiration, by which the lungs
are filled with air; and second, expiration, by which the air is expelled;
the latter is the most difficult of right management. By inspiration
preparation is made for the production of the tone, and by expiration
the tone itself is produced. An inspiration may be deep and full, as is
often needed in singing a long phrase, or it may be a half-breath, a semi-
inspiration, which is possible only in rapid passages, in which but an
instant may be found, and that perhaps by omitting a tone, for replenish-
ing the well-nigh exhausted lungs. In expiration, as a general thing, the
breath should be given out very gradually. The habit of taking a full in-
spiration, with as little movement and noise as possible, should be care-
fully cultivated. The inhalation should be much as in a deep sigh, but
without visible effort ; the lungs being inflated, should be able to retain
* Sec Song Garden, Tart II, note, page IT.
the breath until it is required for the production of tone. The capacity
of the chest may be much enlarged by giving the lungs frequent and
full inhalations, and also by the practice of long tones. Such exercises
however, require caution, especially with the immature organs of chil-
dren and youth. The student should be accustomed, in the pro-
duction of a tone, to exhale insensibly, without shock or motion, so as to
procure steadiness of voice, in both piano and forte passages. Economy
should be the rule in regard to the expenditure of breath in singing ;
none should be permitted to escape as a mere whisper, or aspirate, but all
should be converted into tone. As a general rule, time for inspiration
should be taken from the length of the tone which immediately precedes
it ; thus the singer will be enabled to commence the following tone or
phrase promptly and in full breath.
The following described exercises for strengthening the organs of
respiration are recommended, in each of which the p roper position should
be carefully observed.
1. (a) Inhale gently through the nostrils a full breath of pure fresh air ;
(b) retain the breath for a moment, at discretion, but not too long, then (c)
with the lips slightly opened exhale noiselessly through the mouth.
2. (a) Place the arms horizontally across the chest, elbows bent,
palms downward and tips of the longest* fingers touching. See Fig. 1.
(b) Extend the arms horizontally backward to the right and left, still
keeping the palms downward.
3. (a) Extend the arms horizontally forward, palms together, thumbs
upward, as indicated by the figure. See Fig. 2. (6) Still keeping the
arms horizontal, carry them slowly backward to the right and left as far
as possible, (c) If the hands be taken by another person and gently
drawn still further backward, this exercise will tend to produce a greater
development of the chest.
4. (a) Place the hands upon the hips, and* turn the head to the
left, throwing the upper part of the body far backward in the same
direction. This exercise will strengthen the right side. See Fig. 3.
(6) Turn the head to the right, throwing the upper part of the body
also to the right and well backward as before. This exercise will
strengthen the left side. These movements which at first may seem- diffi-
Icult, are of great importance in developing the muscles of the chest.
VOCAL CULTURE.
28
VOCAL CULTURE.
These four principal exercises are highly important to persons who]
are in good health and have chests neither so weak or feeble as to
be injured by them. Others should take professional advice before
engaging in these or other similar efforts. In addition to these four exer-
cises,°others also may be useful for the development of the respiratory
and vocal organs ; some of these we will attempt to describe. They may,
in part, be practised in connection with gymnastic movements of the
arms, and if in classes, should be regulated by a rhythmic division of the
time as in music ; though we can hardly approve of the playing of a
pretty tune on the cabinet organ or piano forte for the purpose, but would
rather indicate time movement by counting, as one, two, three, four, etc.
This however must be governed by taste, guided, as is most desirable, by a
consideration of the high claims of music as an art, and of the subordinate
aim of these exercises. In all these breathing,or ether exercises, the stand-
ing position should be assumed, and care should be taken that the air be
" pure and fresh ; " the opening school hour of the morning is most favor-
able for the purpose ; three breathings, or exercises of the same kind at
one time, as a general rule, will be sufficient. Respiration should be
noiseless unless for special reasons it be otherwise directed. It is impor-
tant that in these and other training processes the mind of the student be
closely fixed upon the particular organ to be developed.
5. Passive and Active Chest. — (a) Place the left hand on the
chest the fore-finger resting on the right collar bone ; arm horizontal and
the right hand at the lower part of the waist ; (?;) allow the upper part of
the chest to fall or sink backward, thus producing an inert or passive
chest ; (c) cause the chest to rise and to be well thrown outward, thus
producing the active chest. Care should be taken to perforin this exer-
cise without motion of the back or shoulders.
6. Percussion of the Chest. — (a) Place the hands on the chest just
below the collar bone, opposite each other, tips of the longest fingers
touching, or nearly so, arms horizontal ; (b) take a deep inspiration ; (c)
while holding the breath, rapidly strike the chest alternately with each
hand, sometimes lightly and sometimes with more force. There may be
sixteen strokes or taps, eight with each hand, or sometimes double that
number ; (d) breathe out gently through the nostrils. Never strike on
the chest when lungs are exhausted of air.
| 7. Another. — (a) Hands at the sides just above the hips, thumbs in
front; (b) incline forward and expel the air from the lungs; (c) while
rising, inhale slowly by the mouth, producing a slight aspirate sound by
passing the air through the lips; (d) when the lungs are filled, and the
chest is in active position, strike it rapidly (as in 6) with open hands ;
(e) exhale slowly through the lips as in inhalation. This exercise, as
also the previous one, should be practiced with caution, lest a dizziness
be produced.
8. Another. — (a) Place the hands on the chest as nearly as possible in
front of the arm-pits, fingers closed ; (b) inhale a full breath ; (c) stretch
the arms slowly forward, at the same time opening the fingers, palms
downward ; (d) bring the arms buck to their first position ; (e) breathe
out through the nostrils.
9. Breathing accompanied by Movements of the Arms. — (a)
Bring the tips of the fingers to the shoulders, elbowrs pointing downward
and a little forward, the arms being bent and parallel, simultaneously
inhaling a full breath ; (b) carry the hands forcibly downward to a posi-
tion a little in front of that occupied by them when hanging by the
sides; clench the hands while bringing them into this position, and simul-
taneously exhale forcibly through the nostrils..
10. Exercise for the Diaphragm.* — Place the hands on the middle
of the waist at the location of the diaphragm ; make firm pressure, and
alternately contract or draw it in, and expand or throw it out. The
same may be done in connection with respiration, as by inspiration the
diaphragm contracts, and by expiration it expands. This is a difficult
exercise.
11. For the Intercostal Muscles. — Hands on the sides at the
lower part of the waist, thumbs behind. Exercise these muscles by deep
inhalation and exhalation.
12. For the Dorsal Muscles. — Hands horizontal at the back,
thumbs forward. Exercise these muscles by inhalation and exhalation.
13. Combined Action of the Intercostal and Dorsal Muscles. —
* The dhiphragm forms the partition between the thorax or chest and the abdomen, and In
the nbove described exercise it must not be confounded with either of these organs. It arches
upwards, so that when it contracts it enlarges, and when it expands it diminishes, the cavity of
VOCAL CULTUBE.
29
(a) Hands on the hips; (I) inhale while rising slowly on the toes; (c)
exhale while sinking back slowly to the floor.
Another. — Breathe as if filling a belt around the waist.
14. For the Abdominal Muscles. — (a) Hands in a horizontal
position in front and just below the diaphragm, tips of the longest
fingers touching. (J) Contract and expand the abdomen by exhalation
and inhalation.
. 15. Aspirated Breathing. To acquire Force in expelling the
Breath. — I. Fill the lungs and expel energetically and suddenly, in a
half-formed or aspirate whistle to the word whew !
II. Take a deep inhalation through- the nostrils and breathe out
through the mouth in an aspirate, as no !
III. Catch the breath quickly and breathe out as in a subdued ex-
pression of fear or terror, on !_
IV. Utter the vowels a a e 6 uo, each being preceded by a gentle
whispered stroke of the glottis.
1G. For Rapidity in Breathing.— Observe Tray, who, after much
running, pants for revivification. Imitate him, save in the protrusion
of the tongue. Panting and gasping, if judiciously practiced, may help
to strengthen and enlarge the breathing capacity. The diaphragm will
be brought into free action by this exercise.
17. For continuous gentle Breathing. — I. Imitate the sound of
the air in the sea-shell by a very gentle, but audible breathing, re-
taining the air in the lungs as much as possible.
II. With mouth fully open, breathe iiiaudibly upon the hand, as if
melting frost on a window pane.
18. For the Expansion of the Larynx. — Produce the sound repre-
sented by the letter g, as in egg, three times in succession, repeating the
exercise twice.
19. For the Expansion of the Pharynx. — I. Draw back the
tongue as in gaping.
II. Pass the end of the tongue along the roof of the mouth, when an
attempt to swallow it will produce an enlargement of the lower
part of the pharynx.
20. Elevation of the Uvula. — A suddenly suppressed yawn or
gape.
21. Elevation of the Soft Palate or Palatial ARcn. — Utter
the sound represented by the letter u, as in the word up ; let this be done
three times in succession, and twice repeated.
22. Exercise for the Lips. — I. Produce in quick succession the sounds
represented by the letters e, a, oo ; the first e with the lips drawn
as far and as tight as possible across the teeth ; the second a with
the mouth opened wide enough to admit three fingers one above
the other; the third 6o with rounded protruded lips drawn
nearly together.
II. Move the lips with the precision and energy required for the clear
articulation' of syllables and words, yet without the slightest vocal
or aspirate sound ; as if speaking to a mute, in such words as
"Good morning," " How do you do?" "What is the time of
day," &c.
23. Utter the vowel 6 in a clear and continuous tone with an effort to
throw the sound into the distance, by such a protrusion of the lips and
general contraction of the passage, as to elongate the vocal tube or pipe.
Rules in Relation to Breathing.
Negative. — Breath should not be taken,
I. Between the syllables of a word ;
II. Between an adjective and its substantive ;
HI. Between an article and its substantive ;
IV. Between a principal verb and its auxiliaries ;
V. So as to break up the connection in the expression of an idea or
thought ;
VI. Between an appogiatura and an essential tone of a chord.
Affirmative. — Breath may be taken
I. Before a long tone ;
II. At a rest, or after a pause ;
III. On an unaccented part of a measure ;
IV. Before a roulade, running passage, or organ point ;
V. Whenever necessary to preserve life.
In breathing, be it remembered, there should be no movement of
shoulders or ami ; it should be without shock of chest or noise.
30
VOCAL CULTURE
The Glottis. — The percussive action of this inner air-mouth, or
opening to the larynx for the passage of the breath, is of the first impor-
tance to the clear articulation of tones, both in song and speech, it may
be thus described : immediately before the utterance of the tone, a suffi-
cient inspiration having been taken, a preparation is made for it by an
effectual closing of the aperture and the consequent momentary suspen-
sion of the breath. Simultaneously -with the vigorous re-opening the
tone is heard, not necessarily of great force, but with the utmost certainty,
precision, and exactness, or clearest articulation possible. •This percussive
action of the glottis is a most certain means of insuring a truthful intona-
tion and of preventing a groping or feeling about for the tone, or of the
very common habit of striking below the pitch and then sliding up in
hope of finding it. It has been likened in its effect upon the tone to
the closing and instantaneous re-opening of the lips upon the articula-
tion of the letter p. It has been called by Garcia and others the shock of
the glottis; but this designation is thought often to have misled the
student by conveying an idea of something more violent, convulsive or
" shocking " than was intended. " Stroke of the glottis " a somewhat
milder expression, has been judiciously adopted more recently. But by
whatever technical appellation the action may be distinguished, it must
be instantaneous, energetic, and sure in its results; it must never be
allowed to degenerate into a convulsive shock of the whole vocal region.
The stroke of the glottis produces the most perfect staccato ; a lesser ac-
tion is equally important to the martellata.
Registers— In every voice, though in some more distinctly marked
than in others, there are certain ranges of pitch, characterized by a
general similarity in the manner of producing and qualities of tones;
these distinct portions of the vocal compass are called Registers.
It is important that the student should be early led to a clear perception
of the different registers, since right progress in the formation and train-
ing of the voice essentially depends upon such a development and equaliza-
tion of them as shall lead to uniformity throughout its whole compass.
The voices of women comprise three registers called Chest, Medium,
and Head, all of which are more or less employed by the treble or
soprano.*
* The leading teachers for the last quarter of a century, and especially Garcia, on whom wo
The alto or contralto (different names for the same thing), has the
same registers as the soprano, though it more seldom employs that of the
head, and more frequently that of the chest.f
The registers in women's voices will be found nearly as follows : the
chest register extends from the small g to the once marked small / or g.
The medium register extends from the once marked small / or g to the
twice marked small c or c.Jf This register may also be brought down
even as low as the once marked small c. Tones of a higher pitch than
the twice marked c $, belong to the head register.
The tones of the chest and medium registers may be said to resemble
a reed instrument, while those of the head are more like the tones of a
flute. The head register is the most distinguished and brilliant of the
soprano voice.
Women with few exceptions usually speak in the medium register.
Men's voices in like manner may be divided into three, but in general,
are confined to the chest and medium registers.}
Base voices, in ordinary singing, make use of the eldest register only.
Tenor voices make use of both the chest and medium registers. The
former extends as high as the once marked e, f org; the still higher tones
being taken in the medium. Tenor voices vary considerably, however, by
nature or by cultivation, in the extent of the chest register. Men with
few exceptions, speak in the voice of the chest register.
In children's voices, previous to mutation, the chest and medium or
head registers, though often easily distinguishable, are, in general, les9
marked than in those of adults, and there is always danger of their forc-
:hiefly depend as :
hum. The .liir.-r.-nce is regarded as rather consisting in name than in rc
self in his "Singing School" adopts the more common division ot womt
listers, because of its general acceptation, and, because more easily ui
t The voices of alto singers, naturally adapted tc
ression of the deepest emotic
irpose of ringing loader in el
, productive of ;i quality ...
,nd which is painfully disagn
,o registers, between women
VOCAL CULTURE.
31
ing up the chest register to a pitch too high for 'its natural compass,
especially when excited by singing in chorus, as in schools or class-
es. During the change of voice which usually takes place in girls
at from fourteen to sixteen, and in boys from fifteen to eighteen
years of age, (varying much in different individuals), it should be
used very sparingly, and with much caution, or better not at all, either
in singing or oratorical exercises, for the vocal organs may at this time
lie injured beyond recovery. Children usually sj)cak in medium or head
register.
" Equalization of tue Voice. — The work of vocal culture by the
equalization of the registers, the voice being sufficiently mature, should
ordinarily commence with the tones of the chest, which may be regarded
as the ground work of the voice, and this register may receive consider-
able degree of development, so that the student shall become somewhat
efficient in their use, before the tones of the medium register receive much
attention. But if the chest tones are feeble, hard or husky, those of the
medium register may receive previous attention, leaving those of the chest
to a later period. The practice of one register does not develop another :
neither should be trained for any considerable time exclusively, but each
should be in turn exercised so that there may be a simultaneous improve-
ment through the whole vocal compass. The proper blending of the
chest and medium registers i:i women's voices so as to render the two
homogeneous, though often a very difficult work, is highly important
to future success. The tones should be firmly and decidedly taken,
but never forced ; mere loudness should not be sought for in this con-
nection, but rather gentleness, truthfulness of register, and purity of tone.
In the course of vocal culture the student should acquire the control of
the different registers, and be able to some extent to interchange their
border tones at discretion.
The proper formation or organization of the voice requires such a
union of the registers, by equalization or adjustment of the tones border-
ing on each, as will enable the singer to pass, so far as may be required,
unobserved from one to another in the ordinary course of closely con-
nected, or legato song. The process of this equalization of the voice is
one which may not be hurried, but which, in most cases, requires a long
practice, in much patience and perseverance. There are, however, some
few for whom nature herself seems well nigh to have perfected the work,
and whose voices throughout their whole compass are elastic, resilient,
and comparatively free from breaks or gaps, and at the same time of good
timbre. The pitch with which the student should commence this work,
is that which has generally been found to be the most natural and easy in
the particular register to which attention is being directed at the time,
and this in the use of the vowel most favorable to that register.
In this work of equalization the vowel a is very generally used ; but
different teachers employ different vowels, in accordance with their
own experience, and the various conditions of the vocal capacities and
habits of their pupils. Each of the vowels should receive careful attention
during the training proces?. Especially should the student be made
familiar with the five leading or principal sounds of most languages,
represented in general, in the continental languages of Europe, by the
letters a, e, i, o, u; represented, with pronunciation marked, in English
thus, a, a,, e, 6, ob.
The relative dimensions of the oral cavity (interior mouth), and also
of the orifice of the lips in the production of these vowels, are thus given
by Dr. Carpenter in his work on Physiology ; the figure 5 expressing the
largest dimensions.
ORIFICE OF TOE LIPS.
OUAL CAVITY.
After some satisfactory progress has been made in the right use
of the voice, in a good quality of tone or timbre, and also in a suitable
connection or blending of the registers, and the foundation has been laid
for the superstructure of art-song, four of these are mostly laid aside, and
the j>upils pursue their onward course in the acquisition of elasticity of
voice, ability of execution, and the tasteful requirements of song, in the
use of the great sound, the father of sounds, and the most natural of all
human sounds, a, which is henceforth their principal reliance for
training purposes. " To produce this sound," says Dr. Francis Lieber,
32
VOCAL CULTURE.
"the mouth is merely opened, 'without the contraction or extension
necessarily accompaning the utterance of cither of the other vowels."
seems to be peculiar to man ; " for," says the same writer, " it is very rarely
the predominating sound in the cries of animals. In these, the sound ee,
awe, it, and a, generally prevail. We do not include the sounds of sing-
ing birds, which are inarticulate music, like that of wind instruments.
The regularly arched roof of the human mouth, and the other line organs
of speech, with which the Creator has blessed mankind above all lower or-
ders of animals, are necessary to pronounce the melodious sound ii. This
is, generally speaking, the favorite sound of singers, because it i3 the
most musical and full, of those which the mouth of man can utter."
Hence it has always been used by teachers as the best sound for drawing
out and perfecting the human voice.
In training the voice to equality throughout, the various exercises
should be sung, successively raising the pitch of each by chromatic
degrees; that is, an exercise, if first sung in C, should be repeated in D|^,
then in D, then in E^, etc., so as to embrace the whole vocal compass.
Quality or Timbre op Voice. — These words may be regarded as
nearly synonymous. No two voices are in all -respects alike as to quality
of tone, or timbre ; every voice has its own distinctive peculiarity or
characteristic quality, resulting from physical or mental condition, and
especially from an habitual use or movement of the vocal organs. It is
not possible, by description in words, to convey a clear idea of the quality
of the voice, to one who has not had the opportunity of previously hear-
ing and closely observing the reality. An attempt to do this may be
likened to an endeavor to convey an idea of the peculiar fragrance of the
rose, or flavor of the peach, by similar means. Neither of these is possible,
nor can any definite idea of the peculiar quality of tones be thus com-
municated. The knowledge of the fragrance of the rose can be conveyed
are common in some degree to all; and which are so distinctly
marked that they may be regarded as generically distinct. Others are for
the most part borrowed from these and are but modifications of them.
These two are denominated the Clear Timbre, and the Sombre Timbre.
An attempt to describe the position or action of some of the princi-
pal vocal organs employed, and also an explanation of the terms them-
selves, may help to a perception of what is meant by these two qualities
of voice.* The production of the Clear Timbre will, in general, require :
I. The contraction and elongation of the pharynx.
II. The rising of the larynx.
III. The fall of the soft palate or veil of the palate.
IV. The rising of the back part or roots of the tongue.
V. The drawing near together, or the partial close of the lips of tho
glottis.
VI. The direction of the column of air high, causing it to strike against
the hard jjalate, or roof of the mouth. Thus the passage will be narrowed,
favoring a greater force of breath.
On the contrary, the.production of the Sombre Timbre will require :
I. The spreading out or widening of the pharynx.
II. The falling of .the larynx.
III. The rising of the soft palate or veil of the palate.
IV. The full opening of the back part or roots of the tongue.
V. The full opening of the lips of the glottis.
VI. The direction of the column of air low, causing it to strike against
the soft palate or back part of the mouth. Thus the passage will be
idened, favoring a greater volume of air.
Again, the ordinary signification of the words, clear and sombre, may
afford" aid. Thus the word clear signifies unclouded, lucid, making
only by the rose itself, and the flavor of the peach, the peach alone can j known, etc., and the dear timbre will be felt to be appropriate to the
tell. So one can only become acquainted with tones through tones, or | expression of the brilliant, the cheerful, the j^enetrating, the energetic,
with the quality of tones through the quality of tones. It is not difficult, ! the bold, etc. The word stmibre, on the contrary, signifies shade or shadow,
however, upon hearing tones to decide which are pleasing and which are 'and the shaded, sombre tone will be felt to be ^appropriate to the expre*-
unpleasing; as, for example, neither a deep guttural tone on the one
hand, nor a sharp nasal tone on the other, (both of which are readily! *^*^
perceived) can ever afford delight. There are two qualities of tone, lfn the of flexibility and smoothness in the 'cartiiagei of the larynx."
VOCAL CULTUKE.
33
sion of the meditative, the sympathetic, the tender, the affectionate, etc.
The true singer will never employ that which is called technically, the clear
tone, for the expression of tender sentiments or feelings, nor the sombre
for the expression of joyful emotions.
But the true idea of the sombre and the clear, in the technical meaning
of these terms, cannot be communicated by any attempt at description. It
must be given by example, and be received by imitation ; in this way
only can it be made practical to the student, for in music it is most
emphatically true that
" By hearing only we can know
What it is we have to do."
"The characteristic qualities of every well formed voice," says an
experienced teacher of singing, " are clearness, purity, fullness, sweetness,
a ringing quality, with warmth, breadth, and richness." This is
undoubtedly true in the sense intended by the writer ; but what may be
meant by these terms in their application to tones, especially in their
combination, may not be easily appreciated until the well formed voice has
been so repeatedly heard as to be known.
Vocalization — Form of Vocal Delivery. — First, Connected Tones ;
Legato. — In this form of vocalizing, the voice is carefully sustained
throughout the required duration of the tone ; in passing from one tone
to another it admits of no break or gap to interfere, or interrupt the con-
tinuity or smoothness of the voice. It is opposed to all jerks or sudden
arrests by which tones are cut up or disunited, and is also equally at
variance with all drawling, confused or indistinct vocal delivery. It con-
stitutes the predominant feature by which song is distinguished from
speech, and to this, other forms of vocalizing, though important, are
regarded as subordinate.
Second, Marked Tone ; Martellata. — A second form or manner of
tone utterance, may be characterized as giving to each tone a slight im-
pulse, or a clear, 'distinct and independent delivery, but yet without any
positive separation of one tone from another. In its production a slight
pressure of the diaphragm will be made, and the pharynx will evince a
slight expansion. It may be attained by a repetition of the same vowel,
as a or ha, ta each tone of a passage, but without any distinctive utterance
©f the aspirate h. This form of vocalization is called Marked or Martel-
lata. Its practice will tend to correct a frequent, but bad, habit in uned-
ucated singers, of so tying or running together the tones as to prevent
all tone articulation. Such running passages as often occur in Handel
should be sung Martellata ; but a very considerable difference should be
observed in this form of vocalizing as applied to solo or to chorus sing-
ing ; in the latter it should be more marked. ,
Third, Detached Tones ; Staccato. — A third form or manner of tone
utterance is the detached, or Staccato. This is so well known as to
render any attempt at description unnecessary. To produce a perfect
staccato, each tone should be attacked by a distinct stroke of the glottis.
Both the martellata and staccato afford a good practice for feeble voices,
or those which lack energy in the action of the vocal organs.
There are also other forms of vocal delivery, but these three embrace
the principal ; others are for the most part but modifications of these.
Portamento. — By this is meant the binding together of tones in slow
movements, or the carriage or transfer of the voice from one tone-pitch
to another, in a close, connected manner, or by a very delicate concrete
glance or slide, so that the one seems to take hold of, or be melted into
the other. The portamento varies in accordance with different intervals,
character of the music, etc., to which it is applied.
In the foregoing remarks there has been no attempt at a minute des-
cription of the vocal organs or their action, in the production of sound.
Some of the leading ones only have been briefly noticed, as the lungs, or
breath-supplying apparatus; the larynx, or human music-box, with its
opening, the glottis, whence the sound issues and passes more or less
forcibly into the chambers of the pJiarynx, there to undergo in part,or as
far as needful, that modification by which, as it moves on through the
free and open mouth, aided by the reverberating palate, by tongue, teeth,
or lips, it is prepared to meet the appreciative ear, revealing the varied
emotions of him who gave it utterance.
The knowledge of these organs, always valuable, is especially so to
the teacher ; but yet exclusive reliance, independent of vocal illustration
and example presenting the reality, must not be placed upon any of the
technicalities of physiological or anatomical science.
The appreciation of sounds belongs rather to man's intuitional sphere
34:
VOCAL CULTURE.
of knowledge than to scientific analysis. Example, or the presentation
of the reality, should therefore begin and should continue through the
whole course of musical instruction. It is said of John Sebastian Bach,
that, after giving his pupils an example of what he desired them to do,
he would say, " Do so," or " Do as I do." This direction of the great
organist is equally applicable to the teacher of song, and, indeed, of almost
any other department of instruction, and he who assumes the high office
of teacher, assumes also the responsibility of giving instruction by his
own example.
Words and Tones in Union. — Upon the vowels only, open and clear,
should the voice be allowed to dwell ; they should be given with the
greatest accuracy, and should remain, through their entire duration,
unchanged. It is a common fault in sinking, especially of such vowels as
are of a diphthongal character, to pass from the radical to the vanishing
sound, dwelling more or les3 upon the latter, before the termination of
the word ; but only at the instant of the passing of the word from the
mouth, should the vanishing sound be heard. Whatever of feeling may
be thrown into the song, or be drawn out by it, must be in connection with
the open radical sound ; the vowels only sing, and in song, emotion may
not otherwise be expressed.*
The consonants, upon which the identity of words essentially depends,
should be uttered at the very instant required, with great precision and
nicety, so as to be readily distinguished, giving specificness to words;
but with no more force or breath than may be required for this purpose.
They should be regarded not so much as distinct or independent elements
of language, but rather as subordinate to vowels, or as mere borders or
edges of words, giving to them form, exactness, and significance. In
song they are a necessary inconvenience, and not easily well managed.
It is difficult to say which is the greater fault, the almost total failure to
enunciate the consonants, and thus the loss the of word itself, or on the
other extreme, the utterance of them with such aspirated, labial, dental,
palatal or guttural indistinctness, as alike to render unintelligible both
tones and words. The practice of drilling upon the consonants separate
from any vowel, as a gymnastic exercise for the discipline of the
articulating organs, if judiciously conducted, is undoubtedly highly
* See Song Garden, Part II, Chap. XV, p. IT.
valuable, but it should be well guarded, lest it lead to a roughness of
speech undesirable. A careful training to the proper utterance of con-
sonants in connection with vowels, is commended as an important exer-
cise, but avoiding, for the most part, such stifled, guttural, gurgling,
muttering sounds as belong to the mere animal, rather than to the
human voice. A terminating consonant should be given with energy, but
with great delicacy and quickness, and with no more force than is neces-
sary to identify a word. It may perhaps be said, that the vigor sometimes
spent on consonants might better be transferred to the vowels.
The complaint is often made of song, that the words cannot be under-
stood. There certainly can be no sufficient excuse for the singer, who
does not give utterance to words in as clear and articftlate a manner as
the proper delivery of the tones will allow. But it is often a difficult
thing to reconcile the comparative roughness, even of a well ordered
speech, with the smoothness and easy flow of tones required in connected or
legato song. It must be considered that when words are sung, their
utterance comes under, and must be regulated by, music's laws ; and that
sometimes, though not often, these laws conflict with those of elocution.
In such a case, which must submit ? Undoubtedly the latter, or rebellion
or secession must follow. Let the accomplished singer do his best, and
there will occur passages in which the length, the pitch, and the force of
a tone or all combined, will be so unfavorable to utterance, as to render
it impossible that the word should be understood. Besides, there are
times when this understanding of the word is not necessary to the high-
est end of song ; as for example, when the hearer has already in his mind
the full comprehension of the subject or text, and when nothing remains
for the singer to do but to exert the power of music, and, by tones ar-
tistically arranged and managed, to intensify emotion which has already
been awakened by the poetry. Without attempting to justify the " vain
repetitions " of many writers of music, who that has ever listened to the
songs of the most truthful composers, or especially to the great choruses
of Handel, does not comprehend this ? Let not these remarks, however,
be so interpreted as to justify in the least such persons, as, through igno-
rance of the requirements of both poetry and music, unworthily attempt
the noble art.
There is a manner of singing which prevails to a limited extent in
VOCAL CULTURE
36
some places, which, for trie purpose of removing the difficulty of an
understanding of the words, causes them to be cut up into syllabic and
semi-syllabic utterances most offensive, and at the same time, by interrup-
tions of the time-movement, stoppings and cuttings up the tones for comma,
semicolon, or colon, called " minding the stops," annihilates both words
and music. But it cannot be that a practice so utterly at war with all
good taste and usage, should find favor with those who have had the op-
portunities of instructicn now so generally afforded.
The singer should deliver the words with as clear an articulation aj
proper and tasteful song utterance will allow ; and with this the hearer
should be abundantly satisfied, as he surely will be, if, ignoring criticism,
he gives himself up to the legitimate end of song, the expression or
impression of feeling receiving its particular or definite direction from
words.
Expression. — On this subject it may be observed, that (although it
has sometimes been attempted), no rules can be given for such a mechani-
cal movement or adjustment of the physical organs, as in their most care-
ful observance, independently, will ensure an elegant, tasteful and appro-
priate expression.
So also in music's sister art, a man may become intellectually
acquainted with all the books which have been written on elocution, he
may evert write well upon the subject and become an accomplished
theoretical elocutionist, and yet, with voice and organs faultless, from
want of the previous necessary tcsthetic culture, fail in that speech which
moves the soul. And in music one may in like manner acquire all the
knowledge of the vocal capacities which science can furnish, all which
the technicalities of art can supply, and yet fail, unless there be the
groundwork of a general tasteful cultivation, and also that which after
all, and above all, is indispensable, a feeling heart, without which there
can be no geniune, truthful expression of the lips.
feelings, he may then find additional aid in the intensification of emotion,
and in the various shadings which it requires, from a knowledge of the
mechanism and movements of such vocal organs, as may be more immedi-
ately employed in giving color or intensity to emotional expression. Is
it not a great work to read, to speak, or to sing well ?
Universal Chorus. — The writer can hardly, in justice to himself, close
these brief and imperfect remarks on vocal culture, without affixing his
insignia in the form of a few words on universal chorus, or congregational
singing as an act of public worship. If what has been said in this article
is an approximation to the truth, it is obvious that the great song of the
people can never be reached through any attempt at artistic culture. Its
true value, therefore, must rest upon other considerations than those aris-
ing out of any considerable attainments in theoretic, or artistic music.
Happily, the true end of the song service of worship depends not upon
any attraction which music in itself may present as the result of science or
skill ; so far from it, that a display of either in church, is most certain to
attract attention to itself, or to music in itself considered, thus drawing
away the mind from Him to whom alone all religious worship is due, and
substituting the means for the end, the external for the internal, the form
for the reality. This is not the place to discuss the merits or demerits of
plain congregational singing, or that of a more cultivated choir perf orm-
ance. Each, for certain purposes and under proper circumstances, has its
excellences. The latter should receive the culture which is due to music
When one is well grounded in a general tasteful culture, has formed
habits of correctness and elegance in the technicals of speech, as well as J
song, and has also ready to break forth, sensitive, tender and sympathetic!
gratification, but for religious edification, in the psalmody of public
worship. When the true office and value of congregational singing shall
be universally appreciated as being, in connection with the words, a pro-
fessed act of worship, or when all the people shall stand up and join in
the song with heart and voice as one man, when no one in the assembly
shall be left to criticise and find fault, but every one shall participate,
worshiping in spirit and in truth, then wall the claims and the practi-
cability of the universal Hallelujah be acknowledged, and the House of
the Lord will resound with songs of adoration and praise.
" The Origin and Function of Music," by I]
•tSpc,
36
LESSONS ILLUSTRATIVE OF THE DIFFERENT REGISTERS, ETC.
1. — For the study of the Cheit Register, women's voices. — Commence with the
tone, the pitch of which is most easy to the pupil. Let each tone be taken sepa-
rately by a slight stroke of the glottis. The vowel a, or the syllable sea, or any
other vowel, or monosyllable, by which the truthfulness of the register may be
taken. The chromatic series, as indicated by the small notes, may be omitted at
first, if preferred. No regular time-movement need to be observed in this exer-
cise, its object being merely to bring out the chest tones.
Tones lower in pitch may also be employed.
2. — Let the lessons 2, 3 and 4 be sung, first in C, as written, afterwards in D[?,
also in B and in B J?. Time to be observed.
4. — The first tone in each phrase to be taken by a slight stroke of the glottis ;
the remainder by a gentle pressure of the diaphragm, the pharynx sympathizing
jn the action. See Martellata.
5._ For the study of the Medium Register.— Kudo, tone to be taken separately
by a slight stroke of the glottis, and to such vowel or syllable as may be found
best adapted to the student.
7. — See directions at Lesson 4.
8. — Passing from Chest to Medium. — Carefully observe the dynamic marks.
By solfa or vocalization. The Registers are indicated by initials below the staff.
;J8
17. — For an increase of force in each measure.
1^ -J- -J- -J- » Lg_-^_J_ttf El 1:
oo 6 a oo 6 a oo 6 a oo o a
For a decrease of force in each measure.
HCMCMCMCMCMMM
19. — Exercise of the Chest a?id Medium Register. — Be careful not to pronounce
ya for a, Open the mouth quickly, by letting the under jaw fall for ths vowel a,
but be careful to preserve a smooth and gentle expression.
Slowly, mp
i J J J |r [» r |(- T " If* r c *T'J* f ^ ^
l'*.**.*. lJ?^J??rJzHj. 'J. ^. '.J. J. 1 J J. "
20 — Exercise for the stroke of the glottis and martcllata, Chest Register.—
For the first tone in each measure the syllable sea may be used, and for tho
second, a ; or the vowel a may be used for both. The action of the diaphragm
should be felt in the production of the second tone in each measure.
ih~F> i T \ , r. ,- -r | J r Jri}
a oooa, 6» oo a 6 oo.Yr.
1§ — Interchanging the Registers.
C MCMC MCMC nCMM M C
mf :
— J- LJ; J 4s' ^ 4^ L
IICM CM CMC MCMMM
/ J » — -gr
£p— £ — • h£ * * 1 ^ — ^ —
21. — Exercise for the stroke of the glottis and martellata. Chest Register. —
Lessons 20 and 21 may be used at an interval of a fifth higher for the Medium
Register,
II II H M C C C ^ H HCOM M C
40
The following Exercises (mostly from Panseron) are designed principally for the attainment of flexibility of tihe vocal organs, or for rapidity or agility,
and neatness of execution. They should be practiced with much care and diligence, at first slowly, giving to each tone its just duration, intonation and force, not
neglecting quality. Afterwards let the time be accelerated to any degree of quickness consistent with a clear and truthful delivery of the voice. The Student,
who is already acquainted with the elements of music, or who can read music with tolerable facility, may with propriety commence the thorough study of siog-
ing in the use of these lessons.
2«S. — Emission of the voice. — Each tone to be given by a careful stroke of the glottis to the vowel a, or syllable sea.
Voice.
Accompaniment.
36. — Repetition of the same tone to the same vowel. — " The method of executing these passages," says Garcia, " consists in a slight expiration of the air, given
before the repetition of each note (tone.)" This expiration proceeds from the glottis, which allows a very small portion of insonorous air to escape between the two
unisonous tones. The letter h is used to indicate the insonorous air, or the very slight aspirate which precedes the repeated tone. The student should be careful
not to make but a trifle more of the h than a sign.
To be be continued in the keys of D, Eh, E, F, Ft, G, Ah, A, Bb, B, and C.
The aspirate, represented by the letter A in 36 and 37, may be at first slightly observed, but should gradually be discontinued, and the sound a only be heard
37.
48
61. — In this exercise the relation of the last tone in the ascending Scale, in each measure, i3 suddenly changed from eight to seven ; thus, in the first measure,
eight of the ascending Scale in the key of C, is changed in descending to seven in the key of Db, etc.
52
58
75. — Moderate — Fugata.
76.— Triplet).
THE SONG-GARDEN.
1TYMN. " D-aise the Lord,
. Praise the Lord, with joy and gladness,
Let our music gratefnl flow,
Let our "acts of love and kindness
All our paths with mercy strew.
Praise the Lord, whose word created,
And whose glories daily shine.
3. Praise the Lord, whose word created,
And whose goodness still sustains ;
And, when life's short day is ended,
Praise in everlasting strains.
Praise the Lord, whose word created,
And whose glories daily shine.
WOOD MIJYSTft&ZS.
MENDELSS0H1T
mel - o - dies they war - hie,
Make hill and val - ley ring,
68 " ' Stloomitig Spring, Thee we sing.
Andanti '
r r f r r r r r r~r r rr r~r~r~^r~
1. Bloom - ing Spring, Thee we sing, Fair - est sea- son earth can bring! Bloom -ing Spring, Thee we sing,
2. Dear and deep, Love we keep, In the hearts whence prais - es leap ; Dear and deep, Love we keep,
-son earth can bring ! Flowers to ey - cry vale are com - ing, Herds on gras-sy hills are roam -ing,
s hearts whence prais - es leap; While each grate-fal soul re - joic - es, Sweet -er far than fad - ing voic - es,
' Siloomi/ig Spri?i(/} 27iee we sing.
(Concluded.)
rrr ■ *rr"tt<Ftf rr rt r r'r r-r - r r ctm
69
gra- cious hand Clothes with beauty all
gra-cious hand Clothes with beauty all
the land; Thanks to Him whose gra-cious hand Clothes with beauty all
the land ; True to Him whose gra-cious hand Clothes with beauty all
J-.
1. Shed
2. Shed
A
* > ^ £ v
are thick and drear, O - vcr
- ing thou must hear, Let not u
£ J* IS. *> * I*
Watch,
Prcive
J"
thine eye in faith up - lift - ing, Till the sun's glad light ap - pear—
thy - self but pure and wor - thy — God shall make his jus - tice clear—
She
She
J.
met with else - where. Home ! home ! sweet, sweet home, There's no place like home, there's no place like home,
"dear - er than all. Home ! home ! etc.
72 Y0ZT2'&. " Glad throb our bosoms gay."
Melody, "Eobin Adair." Arranged rt BOILDEATJ for "La Dajte Blaxche."
Andante.
mm
1. Glad throb our bo - soms gay, Free from an - noy , O - ver our e - ven way, Close fol - lows joy ;
2. But to all in - dus - try, Our hands ad - dressed, Ev'n in spring's hour3 of glee, Ner - er shall rest.
When round us vi - olets blow, "When o'er us sun -beams glow,Thro' spring's fresh green we go, Ours is youth's joy ;
When, aft - er spring-time's cheer, Dark win - ter days draw near, Good deeds make all hours dear, Soft - ly we rest.
YOUTH. (Concluded.)
* r
wan - dcr ; Mild and bright,
- lands; Hours of glee,
Shines the light,
Swift - ly flee,
Greet - ing us from skie3 of blue.
Ere the ros - es fade a - way.
" Welcome friends and kindred dear."
Close of the School Term or Year, Exhibition, or Examination.
1. Friends, we bid you wel - come here, For your pres-enco gives us cheer, Show -ing in - ter - est 6in - cere In la - bor3 we pur - sue ;
2. Pa - tieut gathered through the year, Brought from far or cul - tured near, Are the fruits we of - fer here And hope you'll not de - spise ;
3. This the feast we of - fer, then ; Proof that not quite all in vain Friends have sought our powers to train, And teach us how to learn ;
Though the feast which wc pre - pare Hath not vi - ands rich and rare, Pleas- ure it will give, we dare To think, at least to you.
Won by la - bor pa - tieut, long, Oft by self - de - ni - al strong, Sure - ly we can - not be wrong When know-ledge much we prize.
Though the fruits as yet be few, — Blos-soms ou - ly though you view, If the prom- ise be but true, We hope your praise to earn.
74
EVENING SONG . « Thank the Zord ! »
Moderato.
CHORUS. | I J | ^ SOLO. '
ANTON ANDRE.
im~ \JrJf~ r i
1. Thank the Lord! thank the Lord! Eve's twi- light ten - der Woos the wea - ry world to sleep; Eve's twi-light ten- der
Woos the wea - ry world
w v i t i \ 1 v p r r i
sleep, And the wide ere - a - tion's splen - dor Rests in shad - ow still and deep, And the
r i i~T— t"
Rests in shad - ow still and deep, Rests in shad- ow still and deep.
wide ere - a - tion's splen-dor, Rests in shad-ow still and deep,
2. Thank the Lord ! thank the Lord !
At Eve's dew fountains,
Fragile flow'rets fresher grow ;
From the fields, the woods, the mountains,
Fresh and pure the airs do blow.
3. Thank the Lord ! thank the Lord !
In every dwelling,
Rest shall mortal strength renew :
Thank the Lord, in hymns upswelling,
For our joys and sorrows too.
" Zift thine eyes."
Andante. sf ^ ^ , p
MEN'DELSSOITN'. ^5
Lift thine eyes, O lift thine eyes to the mountains, whence com-eth, whence com-eth, whence com - eth help. Tby help
to the mountains,
Thy help com - eth from the Lord,
the Male - cr of hea - Ten and earth.
com - eth, com
Thy help com
eth from the Lord, the Male
eth from the Lord, the Mak
cr of hca - yen and earth. He hath
er of hea - ven and earth. He hath
said, thy foot shall not be moved. Thy keep - er will nev - er slu
nev - er will, nev - er
thy foot shall not be moved.
tnr
Thy keep - er will nev - er slum
T'S " J/ift thine eyes (Concluded.)
Blum - - ber, nev - er slum_
nev - er will, nev - er slum ber. Li ft thine eyes, O lift thine eyes. . to the mountains, whence
slum - ber, will nev - er slum - ber. O lift thine eyes to the mountains,
" Come on." (Concluded.)
regions of day,
2. Bright joy
That ne'er will alloy,
And free from whatever our peace may annoy,
Waits all our heart's powers to employ ;
Afar!
In pleasure's light car,
O hie to the regions where, bright as a star,
There happiness nothing can mar.
3. "We'll go,
Where tempests that blow
In dreary dismay through this valley of woe,
No more we forever shall know ;
Good cheer,
No more are we here,
We fly from each scene that can start the sad tear
To live where each day shall be clear.
80 2\fIJJ ZAST %0S£ OF SUMMJPS.*
Slowly.
r 1 ^ i " i ' T r r £ f r " 1 ^ r * i i i r r
1. 'Tis the last rose of Bummer, Left blooming a - lone ; All her love - ly com - panions Are fad - ed and gone.
J>J J £^J.
a I J J*i i I i II
No flow'r of Ler kindred, No rose - bud is nigh, To re - fleet back her blushes, Or give sigh for Bigh.
a. j
I'll not leave thee, thou lone one,
To pine on the stem,
Since the lovely are sleeping,
Go, sleep thou with them.
Thus kindly I scatter
Thy leaves o'er the bed,
Where the mates of the garden
Lie scentless and dead.
3. Thus soon may I follow,
When friendships decay,
And from love's shining circla
The gems drop away !
When true hearts lie wither'd
And fond hearts have flown,
Oh ! who then would inhabit
This bleak world alone.
* Mny be sung ia threo parts, by femnlo voices, omitting th« Tenor.
TJTJ? ZAUJC. "In the sunny beam." f*om j. gersbach. 81
1. In the sun - ny beam, O'er the plain and stream, How your song like a bell is ring - - - ing ; To and
plain and stream, How your song, like a bell, is ring - ing ;
While in si - lence we list to your sing ing.
you fly, 'Neath the sun - ny sky, While in si - lence we list to your sing - ing.
While in si - lence we list to your sing ------- ing.
j j j j / j j j j> / jaJg? «o > j.j J-
le in si - lence we list to your sing
2. When the wind i9 chill, 3. If I could but be
Or the air is still, E'er so happy, like thee,
Ever constant and cheerful you hover ; Ah ! could I, too, but fly my sorrow ;
Now you flit below, In the sunny ray
Then aloft you go, Of the summer day
Not a grief in your song we discover. I would sport, nor would grieve for to-morrow.
Let... thy hap - pi- ness Flow in bless - ed- ness O'er the wea - ry hearts that drink or die.
To . . . the moth - er - less Ne'er be pi - ti - less, — Let thy heart and hand . . with bless - ings burn.
8. In their helplessness, 4. Thro' the wilderness,
In their sinfulness, Streams of tenderness
Let them feel that thou canst love them still ; Pour from out thy fountain's full supply ;
By thy watchfulness, All the wretchedness
By thy prayerfulness, Turn to blessedness,
They may learn to do our Father's will. So shalt thou receive reward on high.
Maeie Mason.
SOJVG. ~" Softly glide away.
BREIDENSTEIN. g5
SECOND VOICE.1
and clear, wavelets sparkling brightly ; Come, oh, come with ua a-
wavelets sparkling brightly; Come, oh, come, oh, come, oh, come with us
Calm the
Calm the day, and clear,
second voici
Calm the day, and clear, wave-lets sparkling brightly ; Come, oh, come with us
hen legato. _ rallentando^^ — ^jj
2. Deep and lofty sea, o'er its waves while saili ng,
Ope new beauties, as by the shore we glide ;
Here the meadows green, there cool groves prevailing,
Charms we see on either side. — Come, oh, come, etc.
Softly glide away, bounding boat, and lightly,
Softly glide, softly glide, 'mid waters play ;
Calm the day and clear, wavelets sparkling brightly ;
Come, oh come with us away. — Come, oh, come, etc.
JVJEJjy YUAH. " Welcome in the glad Net? Tear t
WILLIAM MASON.
1. Welcome in the glad New Year ! Let the bells be ring - ing ! Welcome him with mighty cheer, Let the bells, Let the bells be
^^^^^^^^^^^^
1. Welcome in the glad New Year ! Let the bells be ring - ing ! Welcome him with mighty cheer, Let the bells, Let the bells be
ring - ing ! When he com - eth skies are cold and gray ; Soon he bringeth us a bright - er day ;
—j_ ^ ^-^i — s*-^-1 «*~ -M- 1~
Whcn he cometh skies are cold and gray ; Soon he bringeth us a brighter day ; ,
Welcome in tfie glad New Year!" (Concludes.) 87
Let the bells be ring - - ing, Let the bells be ring - - ing, Let the bells, Let the bells be ring- ing t
Usher in the bridal morn !
Let the bells be ringing !
When the infant heir is born,
Let the bells be ringing !
Sending note3 of joy o'er hill and vale,
Echoes far away repeat the tale ;
Let the bells be ringing !
For the glorious battle won,
Let the bells be ringing !
For the deeds by heroes done,
Let the bells be ringing !
Hearts o'er all the land respond with cheer,
While the thrilling tones are sounding clear ;
Let the bells be ringing !
Mabie Hasojt.
90 COMJE AWAY, MUHftY MAI.
Moderate. ^ fc ^
F. J. FISCHER.
1. Come a-way, Come a-way, Mer - ry May, Mer - ry May, Mer - ry May is here to-day, here to-day ; Birdlings sing, Birdlings sing,
2. What delight, What delight, Pure and bright, Pure and bright, Fills our hearts at ev - 'ry sight, ev - 'ry sight ; Field and brake,Field and brake,
Flow'rets spring, Flow'rets spring, Wreathe we garlands gay, garlands gay. Bright the sunshine, clear the air,
Wood and lake, Wood and lake, All in beau - ty wake, beauty wake ; Mountain-top and valley green,
All a - round is
Murm'ring stream 'neath
fresh and fair
sky se-rene,
Join the song, Join the song, Clear and strong, Clear and strong, Merry May is here, May is here.
All things gay, All things gay, Seem to say, Seem to 6ay, Wei - come, mer - ry May, Welcome, May.
Allegro.
TITU SiUTTJZliFZr. FREDERICK MULLER, Vienna. 91
ng, from flower to flower, Thro' all the summer clay, I float a - long each sunny hour, Till comes the evening gray ;
1. On lightsome wim
2. Up - on the blushing rose
sit, And wave my vel - vet wings, Then on the trembling jasmine light, That c
; ; j TTf J £ P ? £ J c f - * J k k P ?-p p 5
From tu- lip gay and vi - o - let, From li - ly, pure and fair, From he - Ho- trope and mign-on-nctte, I gath - cr sweets most
The school-boy marks my brilliant hues, With stealthy step draws nigh, Then ca - ger - ly pursues my path, As far a - way I
Is J* J* J* J* J* J*> J» ,J* I* f» ,J JS I J* _J*_J^_J* \J*__.^__J> * > fc J>
jftijf* J* J* >i h J*— i
^ ? * » ' t? f 5 5— 1T5 £ f f
From he - Ho- trope and mign- on- nctte I gath - er sweets most r
Then ea - ger - ly my path pursues, As far a - way I fly.
j J.J J. JL
Pit ■ f .
My bed the drowsy poppy makes,
When twinkling stars peep forth,
Until the sun, as morning breaks,
Again revives the earth ;
Thus free from care and envious strife,
I pass the summer hours ;
No winter has my pleasant life, —
I perish with the flowers.
92 M0TI72.—" My hope is secure."
for He in -whom I trust is ev - er mer - ci - flit,
AUegrelk
German.
mer - ci - ful and gracious ;
-1 — h-f-'l 1— T"
I sing his loft - y praise, his loft
sing his loft - y praise, I sing his loft - y praise, .... I sing his loft
j J j VS-.#TNtl--J- > -J- ± j j J3j-i J JZ+A.J-
y praise, His ten- der love fills all my
y praise,
n ( , — |
I sing his loft - y praise, I sing his loft - y praise,
J Jl^ I ,
'iii
days, His ten - der love fills all my days, His ten - der love fills all my days, His ten - der love fills all
CJTfil&TMAS CAHOZ
1. We hail the mora When Christ was born, Within a man - ger drear - y : The ve - ry God — His feet have trod The earth, all sore and
a for Him, Where,burning dim, The wassail-lights show faintly; But box and lir And costly myrrh Give out their in<
saintly.
2. With tender grace
The infant face
Looks out on shepherds lowly,
While Orient king
And Magi bring
Their homage to the Holy.
Where Mary's eyes
In glad surprise
Above her Babe are bending,
The hidden mines
And spices' vines
Their loyal gifts are sending.
3. On Christmas snows
The holly glows, —
The blood-stain'd berry bearing :
The spotless Lamb,
To earth that came,
Our scarlet shame is wearing.
The Babe divine
Whose eyes do shine
With pity never chary :
The Holy Child 1
The Undefil'd !
The sinless Son of Mary 1
94 WJZZC0MJ2 TO TJEfZ VICTOR. " Welcome, welcome, mighty king."
Fkom the "Oratorio of Saul." HANDEL.
tght -y king, Wei -come all who con - quest bring. symphony.
^wmmm
WUZCOMU TO 7'Jf B VICTOR
First Chorus.
h
his due ; Ten thousand prais - es, Ten tlious-and praises, Ten tlious-and prais - es are his due, Ten are
Softly comes the thought of home !
Home ! we prized so dearly !
Only once in life shall come
That dear word so nearly.
Home, where sunshine came unsought I
Home, where kindness lived unbought I
Home, where first the mother taught
Lessens loved so dearly !
3.
As the years are passing on —
Swiftly, swiftly passing !
Memory brings the blessings gone,
All our pathway tracing.
Tears may fall, and hearts grow sore,
Joys departed come no more,
Till we gain the farther shore,
O'er the river passing. — Maeib Uutos.
See, the golden stars are gleaming \ "
A. MUHLINO. 97*
We, too, came from that lov'd dwelling, Earthly beauties fade before U9 ;
Where our longing eyes we raise, Ev'n the stars shall fade on high ;
Where the starry choir are swelling Brighter worlds are beaming o'er us,
Anthems to their Maker's praise. Rich with joy9 that never die.
98 SKY- LACK'S SOJYG. Canon. MENDELSSOHN
Allegro Vivace. ^
How sweet is thy song, As float-ing a- 1
Dng, Gay sky-lark, thy voice hails the morn- ing ; Oh, lend me thy wing, With thee I will sing To
As float-ing a - long, the
How sweet is thy song, As float -ing a - long Gay sky- lark, thy voice hails the
morn - ing;
morn - ing ; To welcome the day at its dawn - ing ; To welcome the day at iU
lOO GOO® MOKNING ! "I wish thee a happy day." Music bt francis abt.
Good morning ! Good morning ! I wish thee a hap - py day ;
Good morning !
Good morning !
2. Good morning ! I wish thee a diligent, busy day ;
May labor befriend thee,
And blessing attend thee,
No idleness tempt thee from goodness to stray :
I wish thee a busy day.
3. Good morning ! I wish thee a peaceful, contented day,
No anger excite thee,
Nor error affright thee,
In love may its moments be passing away :
I wish thee a peaceful day.
T1IIJ LAKU AT ItUST. "Sleep on."* 103
1. Sleep on! Sleep on I No rip - pies break Thy glassy sur - face, gen - - - - tie lake; No
gen - - - tie lake;
bove Looks down in love, The moon a- bove Looks down in love, And ev - er in thy sleep Her im-age thou dost keep.
2. Sleep on ! Sleep on ! I too will rest ; Then softly float,
My sturdy oar shall lie in peace, My bonny boat,
Nor roughly wound thy silvery breast, Nor break this hour so calm,
Or cause a frown upon thy face ; With fearful, rude alarm.
* The Base may be sung by femals voices.
104 JPHSTIVAZ SOJVG
Allegretto.
Bright be a thousand tapers burning.
L Bright be a thous - and ta - pers burn-ing, "With ros - y gar - lands deck the hair; Let darksome
2. There gladsome hearts are mirth - in - spir-ing, And mer - ry feet are trip - ping gay, Glad mirtb, and
night to dazzling day be turn-ing, Let sweetest per - fumes fill the air. The fes -tal bowers in - v it - ing, Will
song, and laughter all un - tir - ing, Thus will we eel - e - bratc .... the day. The fes - tal bowers in - vit - ing, etc.
— k*-i — \rn — i — ^-"r^r
mirth and joy prolong, Our voic - cs glad de - light - ing In joy -
FESTIVAL SOJVG
f f fi v i w r c i ^ ur ^ r rr? 1 p>t p
1. The mora - ing breaks, the breeze is fair, A bark is danc-ing o'er the stream, Hearts, as the morning bright are there, And
2. Let fav - 'ring winds the can - vass swell, To friends we leave a kind fare- well ; Speed on, good ship, thro' o- cean foam, And
106
THE MONEY-MOON.
>gro vivace.
'My every day is clear and bright."
Arranged for Three Voices from C. KREUTZEE.
And weeks so quickly pass away, They seem but like sin - gle day, They seem but like a
2. There's not an object I can meet,
But seems my eyes with smiles to greet,
As if my heart were known ;
And every sound I chance to hear,
Pours heavenly music in my ear,
For now's the honey-moon.
3. There's many a day of laughing cheer,
And many a day when hope is clear,
But where is found a boon
That brings such smiles of present joy,
Such hopes of good without alloy,
As this, the honey-moon.
T£TB jBZUSSING OI7 JFftUJEJftOM. " Awake ! and let your sonffs resound." 107
The battle'9 strife is end - ed, And peace with conquest
t— r-T— f
blend - ed Has freedom's land with glory crowned,
Has freedom's land with glo ------ ry crowned.
. Let rocks, and hills, and valleys ring,
Let hills and valleys ring,
While grateful praise with joy we bring,
"While praise with joy we bring.
To Him, the bounteous Giver,
Be glory, honor, ever,
While heart can feel, or voice can sing.
3. No more shall proud oppression stain,
No proud oppression stain,
Our nation's wide and rich domain,
Our wide and rich domain ;
Here freedom's gladd'ning story
Shall ring in shouts of glory,
While honor, truth and love shall reign.
108 GO 03) JYIGETT! "Now to art a kind good night."
1. Good night I Good night! Now to all a kind good night 1 Lo ! the moon from heaven is
2. I: Good night ! :|
Now to all a kind good night !
Angel like, while earth is sleeping,
Stars above their watch are keeping,
As the Star of Bethlehem, bright 1
|| : Good night I :[
3. |: Good night I
Now to all a kind good night I
Slumber sweetly till the morning,
Till the sun, the world adorning,
Rise in all his glorious might 1
J: Good night ! :|
112 SUMMjeH FZOyrifflS. "JYbw summers light uncloses." Pollaca.
Allegretto.
2. There in soft fragrance -wreathing,
Frail and fleeting in their stay,
Purity fondly breathing,
Soon their brightness fleets away ;
Though, with effacing fingers,
Decay may sweep their precious bloom,
Yet in the bosom lingers
The blessing of their rich perfume.
TITB W003)S. " Ifow lovely are the woods /■
Allegro.
SATTLER. 113
2. Oh 1 how I love the woods !
The verdant, verdant woods I
Oh ! how I love the woods !
The verdant, verdant woods I
Where light swinging branches are twinkling
With dew-drops, that softly are sprinkling
The leaves of the verdant woods 1
The verdant, verdant woods !
• Hollo ! etc.
Oh ! come, then, to the woods !
The verdant, verdant woods \
Oh ! come, then, to the woods !,
The verdant, verdant woods !
Call echo, who dwells in the mountain,
To answer your voice from the fountain,
That springs in the verdant woods I
The verdant, verdant woods !
Polio! etc.
JEYUNIJVG. " See the shades of evening.
Melody bt J. STAFFORD SMITH.
- ning clos - iffg, Hail we now de - part - ing day ; From our dai - ly toils re - pos - ing,
. See the shades of eve - ning clos - ing, Hail we now de - part - ing day ; From our dai - ly toils re - pos - ing,
Hearts are cheer - ful, light and gay. Lov - ing ones to - geth - er meeting, By the fire - side cir - cling round, Full of joy and
Hearts are cheer - ful, light and gay. Bright-er, high-er thoughts are springing, "While the moments on - ward move, Hap - py voic - es
Repeat for Id stanza.
mer - ry greeting, Songs of gladi
join in sing-ing Strains of grat
gay - ly sound, Songs of gladness gay - ly sound,
tude and love, Strains of grat - i - tude and love. 3. Oh ! the raptured heart re - joic - es,
UrUJVIJVG. (Concluded.) 115
Gaz - ing on a scene like this; Blending like the youthful voic - es, Earth - ly love and heav'n-ly bliss.
G OING JIOMU. "JVow haste we home."
1. Now haste we home ! Now haste we home ! Fleetly our sorrow has vanished, Trouble and care shall be
Trouble and care shall be banished. Joy - ful we come I
2. Shouting and song ! 3. Free as the air ! 4. Now haste we home 1
Greet us in jubilant measure, Spirits in gladness are leaping, Love twines about us forever,
Visions of love and of pleasure Hope springs again from her sleeping, Bonds that no absence may sever ;
Lure us along ! Winning and fair ! Joyful we come !
UNION. (Concluded.;
117
fa - ther's old - en glo - ry On the tongue of childhood dwell, While the lips of vet-'rans hoar - y Deeds of val - or fond-ly
fa-ther's old -en
ry On the tongue of childhood dwell, While the lips of vet-'rans hoar - y Deeds of val - or fond-ly
While the lips of vet - 'rans hoar - y, Deeds of val - or fond-ly tell.
2. Then may peace and pure contentment
In our borders e'er abide,
May we fear no foe's resentment,
Fear no rude assaults of pride ;
May we fear no foe's resentment,
No assaults of pride.
If disunion seek to sever
Ties bequeathed by sire to son,
Let the song arise forever,
Heirs of freedom, we are one ;
Let the song arise forever,
Heirs of freedom, we are one.
118 TUTU FLBUTIJVG 2) AT. " Swiftly glide away .
When our hearts . .
Moderate, mp
Happiness is brief,
Fragile as a leaf,
Touched by autumn's finger ;
Hope may fall to dust,
Yet in holy trust
Faith and peace shall linger.
<POZLACA.
Like the dew is fleet
" When morn has first her light revealed.'
r r fff p ITr"*~ r T f T fir? _ p g"f • * ■ " > u .
1. When mom has first her light revealed, I mount the loft-y hi^ht, Where songs of joy have oft-en pealed From cheer-ful birds of light.
TOZLA CA . (Concluded).
119
How bright the fair and flowery field ! How fresh the woods
Hfc»-
-S- ^S- i • -e- > I ✓ ■ t .J P -<s-
Oh ! what delight do all things yield A - mid
rich a scene ! Oh! what de-light do all things yield A - mid.
A - mid so rich
A -mid so rich
2. Yes, every spot is full of glee,
Around this lofty hight ;
No griefs oppress, no cares annoy
Beneath the morning light.
How bright the fair and flowery field !
How fresh the woods of green !
Oh ! what delight do all things yield,
Amid so rich a scene.
3. My life is but a shepherd's lot,
I crave no broad estate,
"While here my days with peace are fraught,
I care not to be great.
For bright the fair and flowery field,
And fresh the woods of green ;
Oh ! what delight do all things give
Amid so rich a scene !
120 TMM S ASS ATM SULZ.
Larghetto.
-J 1-
' The Sabbath bell, so full and S7t>eel. " * Music bt neu.vOMM.
Second Stanza of the Poetry added bt Rev. Dr. RAY PALMER.
-J 1 . n«Pfr ^ -Ps Si
1. The Sabbath bell, so full and swelling, "Whose rich vibrations greet the ear, To me, in solemn note, seems telling, Of faith, of hope, of
heaven now near ; My heart with ho - ly joy is bounding,From earth my thoughts are on the wing, Whene'er the welcome call is sounding, That
La r -p- T Lai * 1 u
gig
Whene'er the wel - come call is sounding, That bids
bids me join the choir, and sing
I I
join the choir, and sing.
2. And while -I hear the organ pealing,
And raptured voices shouting j>raise,
While round the holy altar kneeling,
The tranquil eye of prayer I raise,
the welcome call
Sweet dews of heaven seem o'er me falling,
Subduing all my soul to love ;
I seem to hear some seraph calling,
To bid me join the choir above,
or. or by fcmalo voices.
COMIJVG II OMB 7 " ZTark to gentle voices calling P
Rawly.
M. v. BREUL. 121
r 5" 1 p r ? F f 1 c 1 k
Nature's heart with peace is thrilling, Ev - ery storm of
2. Mother-birds are softly cooing,
Come, come home !
Thus the tender birdlings wooing,
*"Now to come.
O'er the mountains night is coming,
Calling us to cease from roaming, —
Coming, coming home !
Marie Mason.
pas - sion still - ing,
122 "Fair Hope is standing ever." *
Slowly.
Music by FRANZ SCHUBERT.
1. Fair Hope is stand - ing e\
2. And Faith be - bind her com - ing,
- side our path -way here; Her smile of sun - ny glad-ness Is
- side her now doth stand ; Up - on her might - y an - chor, She
A. A A A A
full of lov - ing cheer ; And with
firm - ly rests her hand. No storms
A. A A. J& J A A* J
She points to cloud-ed skies,
With clear and stead-fast mien,
A
And says : " With ev - e
She looks beyond t
A A. A*A . <
shad - ow,
dark -ness,
A
The sil - ver lin- ing lies,
To glo - *rics yet un - seen
-*s A . A A A A
The sil - ver lin - ing
To glo - rics yet un - seen.
A A . A A. J J
\- And still there comes another, —
The fairest of the Three !
With beauty like a seraph —
Immortal Charity !
ITer pure and child-like spirit,
Can never be beguiled, —
She whispers : " O my Father !"
And hears Him say : " My Child V,
124 WTJZCOM& 2) AT. " The sunlight comes \" For three Voices.
1. The sun - light comes, the morning's ro - sy fin - - gers Have touched the mountain top, While
While trembling
trembling night in dusk - y hoi- lows lin - gers, And all the val - ley sleeps. Oh ! welcome, thou ju - bi- lant
day, With song, and with dance, and with play We greet thy ray ; We greet thee, We greet thee, Oh !
welcome, thou jubilant day, We greet thy ray Oh 1
WELCOME DAY. (Concluded.)
play\_
125
■welcome, welcome,
2. We walk to-day in peace beside each other,
No tyrant smites the slave,
No falsehood stabs, no traitor wounds his brother,
For right now rules the brave.
7VEZCOMH 710MB.
greet thy ray, "We greet, &c.
3. Oh I freedom's day, glad hour of benediction,
Shine o'er us warm and clear ;
Illumine earth till all, by sweet conviction
Of love, shall banish fear.
. Welcome home, my dearest, Kindest, best and sweetest,
Welcome home again ;
care, and pain Can ne'er re -
Tell me, then, true-hearted,
Since when last we parted,
How has been thy way ?
Sad have I been without thee,
There is a charm about thee,
And now may we as one remain,
Nor part again.
TZjPAS&fitf'S B 01731. (Concluded.)
127
— -^^r-
hour, We hail, we hail, "We hail the pleas-ure of the hour, "We hail the plea
./>* a noo/c so still and (/reen.
Melody by DONIZETTL
I
j In a nook so still and green, Lovelier hamlet ne'er was
A' \ O - ver - head on rid-ges high, Loft - y pines, that hide the sky ; J" Down be - low the stream flo1
"D. c. Earth-ly cares may ne'er mo-lest, In this vale, my peace- ful rest.
.JJ-jJjfljJJ jJ^J
tAAA A JdAj jJAa.
2. Joy within my heart shall dwell
'Mid the scene I love so well,
Shaded by the whispering trees
Will I woo the dreamy breeze ;
* May be sun
Mountain, vale, and murm'ring
Shall with peace my spirit fill •,
Earthly cares may ne'er molest,
In this vale, my peaceful breast.
e parts, omitting tho Ens,
128 22fl? SKY-ZAliK. " Arise, for the lark is now pltimifig his wing."*
In two or three Vocal Parts.
— i— =-rw--»---l^ — !— J-N-^-u-^— f ? y*-*-„-+ _ i — p=f
n
r— — t— ** ' 1 ^ 1 Hiii . ..l — i — ;z±, j_
1. A - rise, for the lark is now pluni-ing his -wings To soar a - bove mountains and vales, as be sings : " A
- way, a-
e
F^4j b- -a- ^-L— «!— J-L v * L- J ' , li i i fu , — . — U — j_
1. A - rise, for the lark is now pluin-ing bis wings To soar a - bove mountains and vales, as be sings : " A
way o'er the
"A-
way, a-
- way, a - way, a - way, A - far from the dark-ness I mount to the light ! A - way from the
world I am
world I am tak • ing my flight, A - far from the dark-ness I mount to the light ! A - way, a -
way, a-
- way, a - way, a - way,
* Base may be sung an octave higher by female ToUes.
2. " Arise, and go with me as far as you may,
Far up the high mountain that meeteth the day !
Away where the rays of the morning shall bring
A glory that only |: from morning can spring. :|
3. " Arise from your slumber, throw off all your care,
And carol a song on the fresh morning air !
Away in your freedom, away in your joy !
And 6ing with a gladness |: that has no alloy." :J
Mas ib Mason.
* May be sung In two parts, omitting the Baso.
tub mux and goo®.
Allegro. * I
mi
Who leads so good and true a life.
133
lie whose heart is
1. Who leads so good and true a life, Whose footsteps
walk so well,.
j- 2 jz
free from strife, Whose
=_zzEi: : >~H TZ=^
In all the changes earth may bring,
Of fond delight or pain,
No song of folly he shall sing,
His lips will not complain.
When truth in peril claims his aid,
When want or terror pleads,
His faithful arm cannot be staid
From brave and tender deeds.
S. So may our steadfast feet be found
In honor's lofty ways,
Though envy, sneer, and malice wound,
And friendship faintly praise :
With feeble hands we wage no fight,
We break no brotherhood ;
Yet strike we boldly for the right,
The just, the true, and good.
" P P
5j > ^ £"£
Banish not hope from the heart that is bleeding, Sunshine comes aft- er the gloom-i - est day;.. Night shades may linger, but
Light shall burst forth .
♦ May be »ung fn tlirco parts by Troblo voices.
MOXJVIJVG.
Allegro.
" The clear morni?ig breaks.
135
i-<g p i3-!-^-^ T>— gi-^-i — P Ph — 1 — — * * i — * * i -i~ N -TT
est, o'er mea - dow, the val - ley a - lon<
The birds are sa
lut - ing the sun -shine so
J" J*
H- We're wakeful and strong, and our footsteps are fleet ;
— °- The town is behind us with toils it may bring,
, The sky is above us, the heavens of spring.
3. ]: To-day we are free ! :[
No darkness or danger shall trouble our feet,
- The oaks we will climb, and the clouds will we greet;
No summit so steep that our lithe limbs may fail,
Aloft we will shout in our triumph all hail I
May be sung by female voices in three parts by omitting the Tenor.
136 TITjEJ SZTJYStflJYJZ. " I love to see the sunshine ." * righini.
1. 1 love to see the sun - shine, When danc - ing o'er the earth, In check - ered beams of glad - ness, It
seems a thing of mirth, It seems a thing of mirth, It seems a thing of mirth, And
It seems a thing of mirth, It seems a thing of mirth.
* May be suDg In two part* by omitting the Tenor and Base, or in three parts by omitting the Tenor.
THE SUJYS&UYU. (Concluded.)
137
2. I love to see the sunshine
Come leaping o'er the hill3
At morn, when mists unrolling
Disrobe the playful rills ;
Or, when in highest glory,
At noontide's golden hour,
I love to see the sunshine
Come peeping through the bower.
3. I love the happy sunshine,
When fading in the west,
With hosts of brilliant cloudleta
Assembled round its crest ;
And when its beams, departed,
Eeflected are on high,
I love these gems of sunshine
That spangle in the sky.
138 WOOD-HORN.
Slowly and softly, mf
* JIow sweetly jjeaL'-
1. How sweet - ly peal O'er vale and hill
How sweet - ly peal O'er vale and hill The wood - horn's notes 1
wind - ing notes! So long and clear,
o, ech o floats!
2. And every tree
Upon the lea
Now waves so green and hale !
So purely sweet
The waters meet,
The waters meet
So purely sweet,
[: Adown the vale, :]
Adown, adown the vale. ,
3. All hearts rebound
When first resound,
Our cheerful notes of morn !
Glad beat all hearts
When echo starts ;
When echo starts
Glad beat all hearts;
|: As winds our horn, :||
As winds, as winds our horn.
* May be sung in two parts ; if so, the Tenor and Base being omitted, the small notes should be sung, so as to make out tho full piece without rests ; when the four parts aro sung the
small notes should be omitted, or treated as rests.
ZOYII AjY2) jFTiZUJVDSJriT.
' Ge?illy falls the cooling dew.
139
1. Gen - tly falls the cool - - ing dew, While the eve - ning ten - - der Steal - ing o'er the heaven - ly
a a a j , j i J3 h 'i :• * ran -h
— 1 *" 'l
p fcj tt^— ^gh, g [ -fr±
blue, Veils the day's bright splen - dor. Dear - cr far than dew -
^m? ftp?
y rest, Love
A A id A. .
and friend - - ship soothe... the
I
err 1 1 7 uv "6 v
breast, Dear - er far than dew -y rest, Love and friendship soothe the breast.
J. jJ. w. i nj_A
m
Youth is fleeting, bloom must fade,
Love shall stay forever ;
No sweet bond that she hath made,
Time or chance may sever.
Friendship, love, I fly to thee,
Thou wilt ever comfort me. *
iy be sung in three parts by ferr
140
ir&£HB IS SH£? "Birds in the valley m'id.*
-h — is—^ —
T > > ^ u r i 1 £
1. Birds in the val - ley wild, Birds on the hill,
Call her in gentle song,
Soon she will hear ;
Sing on, and quickly call,
Sure she is near;
Sing softer, louder, in the tree,
And sing till she shall come to rac,
Pretty bird, call her, call her to uie.
* May be sung In two or thrco parts by female voices.
' Come, dewy eveni?ig."*
German. 141
142 CAZ£ TO ZA%0%. <* Work away."*
Allegretto. .... . fc - , h fc ft flj
AUBER. Aeeanged in Three Pai
r CARL ABELA.
* j° k~ ? p I I h j ■ *■ ^ i ^ ' ^ ^ i ^ ' "™ ^ i j
go, onward go, For our toil shall give us wealth. Work away all the day .Work away all the day; Cheerful la - bor bringeth
Work away, Cheerful la - bor
144:
TUB MOURNING. (Concluded.)
heav'n, Comfort to my heart is giv'n, Strength and brightness to my mind, Strength and brightness to my mindrStrength and brightness
JZAKZY RISING. " The light of the morning 1 *
Melody bt SPOFFORTH.
" n — ^- L 1 1 ci 1 1 — c\ 1 — — fc — — H >*i L I rl , f Fd— 1
L£ — — 1 — Li — i — r — Li — r— i — T — r— 4 — ^- — Li — ^ ^ I My
1. The light of tlie morning is bright in the sky, The birdlings sing sweet ear - ly lay; "With night let the shadows of
2. How bright is morn's ris-ing, how brilliant the light, While S])reading o'er mountain and sky! Come forth, oh ! come forth from your
j&A2Z£Y HISIJVG. (Concluded.; 145
f -p » ■■ 1 J J . 1 J" %
S1 ' 1 r~T — I—1-1 — * — lLu
slumber pass by, Arouse, and bid wel -
cells of the night, To meadow and hill -
lome to - day ; With night let the shadows of slumber pass by, A - rouse, and bid
top we'll hie ; Come forth, oh ! come forth from your cells of the night, To mead - ow and
— __ { i fcb=r' \" v E_)r [ \s— u~ 1 ~ 1 1 — — ± 1 t r r 1
^ welcome, bid welcome to - day, Arouse ye, bid welcome, bid welcome to-day, Arouse ye, bid welcome, Arouse ye, bid welcome, Arouse, 3
bill - top a - way we will hie, To meadow and hill-top a - way we will hie, To meadow and hill-top,To meadow and hill-top,To meadow and
welcome, bid welcome to - day, Arouse ye, bid welcome, bid welcome to - day, Arouse yc, bid welcome, bid welcome to - day.
hill - top a - way we will hie, To meadow and hill-top a - way we will hie, To meadow and hill-top a - way we will hie. «
MO TUT. "Deep rotting ctouds."
ROSSINI. Arranged for Three Female Voices from "Tancredi."
f May be sung in two or three parts.
150 MJZJ2T AGAIN. " 2'he ?iour is near." mendelssohn.
1. The hour is near when we must part ; Froin lov'd com-pan-ions, near the heart, We . soon must part ] We soon must part ! And
sure there's naught in mor - tal life, A strug - glc like the bit - ter strife, When call'd to part, When call'd to part, When call'd to
Wiry suf - fer sadness, gloom or pain ?
Why suf - fer sadness, gloom or pain ?
151
f IPareweil ! sweet summer flowers. " *
BEETHOVEN. Op. 100. Unaltered.
^ t * \, \ * * * * v ^
t. Fare ye well! sweet sum - mer flow'rs, Joy of nia-ny pleasaut hours; Rudely blows the wintry blast, And your life is chilling
'J * * * * h i
-+> -m> -a- -g- -m-
On the hill-side, in the dell, Gen - tie flow'rs,
ye well !
Snmmer days have passed away,
Winter holds his ruder sway ;
All the singing birds have gone
Far to warmer regions flown,
Lovely flow'rs, so fair, so frail,
"Winter comes, fare ye well 1
throe parts by female voices.
152 TASSIJVG
Lento.
CZOUDS. " Where are the swalloivs fled?" *
the swallows fled ? Froz - en and dead, Per - chance, up - on sonic black and storm-y shore ? Oh ! doubting
J^-A i i J J ^ r) , J J J. J-^J-^^-J j-pJ-J ^ 1 1
north - ern home
2. Why must the flower3 die ? Behind the clouds on high
Prisoned they lie Doth smile the sunny sky,
: In ice-bound tomb, unheeding tears or rain ! That soon — for spring is nigh —
Oh ! doubting heart ! Shall wake the summer into golden mirth.
SpetSr>nSi£^£Tnow 4- H°Pe lieth dead- and !iSQt
I lie sort, white ermine snow, X , , ■ '• , . , °
While winter-winds do blow, _ Quenched in night !
To breathe and smile upon you soon again.
3. Veiled are the sun's bright rays
These many days !
Will dreary hours forever sadden earth ?
Oh ! doubting heart I
g by female voices in throe parts, omitting the Tenor.
What sound can break the silence of despair ?
Oh ! doubting heart !
Thy sky is overcast,
Yet stars shall shine at last
More bright for darkness past,
And angels' silver voices stir the air.
1D0 TUB KZGirr.
Andanie. 1
** On2y one can ?iever fatt.
1. On - ly one can nev - er fail, Ev - er do - ing all things well ! His, the sleep-less, searching eye, Watching
mm
J! J-
He will every promise keep,
Walking with us through the deep ;
Storms may come, and winds may blow,
They can never lay us low ;
Through the flood, and through the fire,
He will lead us ever higher, —
Till our faith is lost in sight !
Trust in Him, and do the right !
Marie Mason.
; if in threo parts, the Tenor should bo omitted.
154
EM ft 7LA JYCjEJ OF JZAftZT % ATS.
'* ^Beauteous clouds."
Abbanged foe Three Voices fbom F. "WERNER.
. Beauteous clouds, I see them flow - ing, Gild- ed by the set -ting sun, Now pro- claim - ing by their glow-ing, That an-
Here, tho' veil'd and dark-'ning, now the earth
re - pos - ing
hail the morn
2. Distant sounds, I hear them floating
On the breeze, like zephyr's sighs,
From the land of sweet remembrance,
Wkithei oft my heart still hies ;
Although sweetly sounding, scarcely greet my list'ning ear,
They are fraught with sadness, mingling hope and fear.
3. Gilded vapors, bear my greeting
To the land I call my own ;
Say my heart for it is beating,
Though my youthful days are flown ;
Childhood's sweetest visions, like the tinted clouds, appear
Distant far more lovely now than when so near.
Allegretto.
billows! restless beatmg." 155
Music dt FRANCIS ABT.
Friendly breezes ! freshly blowing,
Swell the sails, and speed my way I
Faster, far, my heart is going,
Than your wildest tempests play.
Ah ! the joy once more to meet them,
And no more afar to roam !
Ah ! the sweet delight to greet them,
All the dear ones left at home.
156 TARHY TffijLYjPZ&H. " Oh ! coldly blows the northern blast." * French Sono.
2. The mountain road is drear and lone,
The wolves are fierce and hungry,
The light of day will soon be gone,
The storm become more angry.
Then tarry, etc.
3. No moon shall shine thy way to night,
Nor stars to cheer and guide thee ;
The wind will blow, the rain will beat,
Some evil will betide thee.
Then tarry, etc.
* This tender and beautiful melody Is here arranged In three parts for female Tolees, from " Asaph."
TIfB OZCD "Tutl, putl away."
K Pull, pull a - way, boys, and
\ Hark 1 to their mu - sic o
let . your oars more stead -
bey the sum-mons read -
ly Keep time
ly, Their call
dis - tant vil - las
home and joy
bells,
it [Omit]
how I love those clear old bells, With Iran- quil joy my bo - som swells, As
Oh ! how I love those clear old bells, With joy my bo - som, etc.
* N s ^ , J* -~ *K J J * h -
2. Well I remember, with what profound emotion,
After long, weary years, toiling hard in distant climes ;
Then, when preserved from the perils of the ocean,
With what joy again came the sound of village chimes.
• Their merry peal the echoes woke,
As forth in lively tones they spoke ;
They seem'd my safe return to greet
In accents full of welcome sweet.
So pull, pull away, etc.
158 ZOOK OUT I'OH THI7 ICtf. " Step it lig titty ferari.
Hear the call, Lest we fall, Hear the call, Lest we fall, Hear the call, Hear the call, Lest we
> js j jJi JJ^jjj 4 4 fit
Guard the foot-steps from dan -ger sur-round-ing ;
l» .> J > *s J. At J? J. J* :<£ A A
Hear the
Ev - er read- y,
160 "We parted, we who loped so well.9
Slowly.
Music by W. W. CALDWELL.
i i i ri f'^rr > > > > r r r
We part - ed, we who loved so well, When ear - ly morning glimmered gray, )
And in the west, the moon's pale shell, Fad - ed be - fore the com - ing day ; J
J' J* J
But, when beneath the sky of May,
The hawthorn blossom'd far and near,
There dawned for us a brighter day,
And fate proved kinder than our fear ;
For then, beneath the linden's shade,
Once more I held thee to my heart,
And there the whisper'd vows were made,
That joined our lives no more to part.
Oh ! happy heart 1
No more to part !
♦ May be mog Id thr<!0 parts by female voices, omitting tho Tenor.
u That strain of music greets my ear. *
Andante, p
From BEETHOVEN.
161
I I
1. That strain of
2. Flow gent -ly
r r i \ j ! r f
mu - sic greets my ear, Like joys of days cle - part
on, thou sweet-est strain, My heart delights to hear..
t I
- ed ; "When oth - er mornings dawned so fair, And
thee ; My loves I'll nev - er know a - gain, They
And, ah ! it minds me of the part, Of those I loved so dear - ly.
My spir- it springs to life and light From sorrow's chain that bound me.
Thou breathest o'er my inmost soul
A charm for all my sadness ;
The clouds that heavy round me roll,
Depart, and all is gladness ;
Oh, fly not yet ! with long delay,
Still fondly linger near me ;
Blest voice of joy and comfort, stay—
I would forever hear thee.
162 " Come away / Zel tis ffo, to and fro."
TREBLE. Moderate, f
From JOS. GERSBACH.
To and fro, Nor a murmur, Nor a murmur ev - er know : Here to-day, And then a - M ay, Here to-day, And then a - way,
To and fro, . ,
Here to-day, And then a-way, And then, etc.
164 MO TUT.
Largo e piano.
In peace, . . etc.
of youth could save ; Deep be thy sleep,
In peace -with - in thy grave.
2. Deep be thy sleep ;
How brief thy fleeting day !
The morning's rosy light
To shades of silent night,
Too soon hath passed away.
Deep be thy sleep 1
How brief thy fleeting day.
3. Deep be thy sleep !
Thy spirit goes before ;
Through bitter falling tears
Our faith the message hears :
" Ye all shall meet once more."
Deep be thy sleep !
Thy spirit goes before.
Jeom " Asaph."
Gen - tly swell - ing, gent - ]y» swell-ing, sleep-ing o - cean, sleep-ing o - cean, Nev - er still your wa-ters be, Never
* May bo sung in three parts by female voices, omitting the Tenor.
* May bo suns >n thr«e parts by female Toices.
168
SUASIDU. (Concluded.)
shore ! Haste we from the cit-y's roar, To old ocean's sand - y shore ! To old ocean's sand-y shore ! To old ocean's sand - y shore !
TIIU SUJV TJIJP GltAYU. " Cease, tetider tore, thy weeping ." German Song.
Adagio. p_ > t^.iL V » * ^j^T / . J J* L
1. Cease, ten - der love, thy weep - ing, A bright
2. Cease, love, thy tim - id sor - row, Be - hold . . .
er day is nigh;
the heavenly light
For, far in cloud- less
To cheer thy path -way
iff tTTCJ r
star of morn is sleep
these doubts to bor
3. Though still with foes contending,
The strife ere long shall cease ;
In cloudless joy and peace
Thy weary labors ending.
4. Brightly the crimson morning,
Fair hope, looks out on thee ;
Eternal day we see ;
All glorious is thy dawning I
The star, the star, etc.
THE OF THE ZJ?AL.
169
v there, Jean, There's neither cauld nor care, Jean ; The day is aye fair In the land
2. Ye've been leal and true, Jean,
Your task is ended now, Jean ;
And I'll welcome you
To the land o' the leal.
Our bonnie bairn 's there, Jean,
She was baith guid and fair, Jean ;
And we grudged her sair
To the land o' the leal.
3. But sorrow's sel' wears past, Jean,
And joy is comin' fast, Jean,
The joy that's aye to last
In the land o' the leal.
Then dry that tearful e'e, Jean ,
My soul langs to be free, Jean ;
And angels wait on me
To the land o' the leal.
t Tho Irregularity of the stanzas require, that c
t Land of the leal-tho place of the faithful in 1
iften filled my eyes
e be taken to adjus
ladds, "There is a traJiti
o words, as indicated by si
. Our friends a' are gane, Jean ;
We've lang been left alane, Jean ;
We'll a' meet again
In the land o' the leal.
Now, fare ye weel, my ain Jean ;
This warld's care is vain, Jean ;
We'll meet and aye be fain§
In the land o' the leal.
lany plac
I of Scotland, that It w
170 II1MN.
' ^Praise the Zord, when blushi?ig morning
tB. , ^ . — , cres. .
the blossoms fresh., with dew; Praise bin
Praise the Lord ! praise the Lord I and may his blessing
Guide us in the way of truth,
Keep our feet from paths of error,
Make us faithful in our youth.
3.
Praise the Lord ! praise the Lord I ye hosts of heaven ;
~ | J 1 | - j|~ Angels, sing your sweetest lays ;
~g! ~l~r^ "~ All things utter forth his glory,
Shout aloud Jehovah's praise !
SEIZING V-E'RD ZfflJE.
Andantirw
' Oh welcome, spring verdure.'
* v v 5 v i r
1. Oh, wel-come, oh, wel-come, oh, welcome, o!i, welcome, spring ver - dure, When May is so bright, When May is so bright, When
2. Oil, wel - come, oh, wel - come, oh, welcome, oh, welcome, spring ver - dure, When nature's sweet smile, When nature's sweet smile, Can
STfiUTQ rtffiDZfftjE'. (Concluded.
171
is de - light, When all
row be - guile, Can sor
- light,
- guile.
hills
And wake
a - round and in val - leys, O'er meadows and fields, O'er
pure, in - no - cent pleas - ure, "When beau - ty and bliss, When
— k =1 — tp= =1 — p-
r U t mmmm
meadows and fields, And round the clear rill, And round the clear rill. Oh, wel - come, oh, wcl - come, oh
beau -ty and bliss, Our feel-ings ad - dress, Our feel - ings ad - dress. Oh, wel - come, etc.
welcome, oh, welcome, spri
~> r v * v > J r |~?
ver - dure, Oh, wel - come, oh, wel - come, oh, welcome, oh, welcome, spring ver-dure.
Oh, welcome, spring verdure,
When oft in the grove
So happy I rove,
'Mid song all joyfully flowing
When all that is seen
Is sparkling with green ;
Oh, welcome, spring verdure.
172
T&U ftir&fi, " Ture, rippling river M
— K.
«T | £ ^ | £
! Pure, rip-pling
174 2'&& %irj?%. (Concluded.)
Let us, in passing, Be faithful, and ev-er
Bestow rich blessing,
As does the riv - er.
178 JZYJZNING . (Concluded.)
«7 | C -— -r-
bosoms All her flood of gold-ea light
Pouring thro' our thrilling bos-oms All her flood of gold-ei
of gold -en light, All her flood of gold-en light, All her flood of gold- en light.
x / | ^ Lh — ts— F4— t*— T- — bi— Fj £ *i 331 Li—
-l m * 'j — > y e>
light, All her flood of gold-en light,
MO TUT. " Glory to God in the Mgliest.'
! ! ! «^J_
-1 ' -J^l
Glo - ry to God, Glo - ry to God ... in the high
AZZ AMOJVG TIT^ (Concluded.)
Who would not be blithe, When the free and hap
J J J i J . J> J Ali
free and hap - py bar - ley, etc.
r £ > s > u
py bar - ley Is smil - ing on the scythe ; When the frea and
r r — J g-^g g=T r
hap - - - py bar - ley, Is smil - ing
on the scythe,
-J- J-
3. The wheat is like a rich man,
That's sleek and well to do ;
The oats, like merry children,
Are laughing, dancing too.
The rye is like a miser,
That's sulky, lean, and small ;
But the free and bearded barley
Is monarch of them all.
All among, etc.
Dwell thou in. etc.
182
MO 7777'. (Concluded.)
in our hap-py land, in our hap-py land,
sk jr<j inour naP - - - py
And bring us bless
ings from thy bounteous hand.
And bring us blessing, etc.
Peace all tby steps at - tend-eth, Love all thy sons de - fend-eth, Plen-ty and cheer-ful - ness Be-fore thee ev - er firm-ly
stand, For ev - er, for ev - er Our guide and portion be, For ev - er, for ev - er Our guide and portion be.
185
clear crys-tal springs,Till 'neatb cloudless sky resting we lie.
" Go, weary sun . " *
l. Go,
•ry sun, to thy rest with fad-ing light, Come, gen-tle eve-ning, and usb- er in the
ight ; Murmur, sweet breezes, a-
J rr-j J* J -N -N
2. Come, cooling night, spread thy balmy, healing wing,
Rest to the weary and toilworn laborer bring ;
Gently distill on the thirsty, fainting flowers,
Dews that revive them for morning's golden hours.
!. Shine out, fair stars, and in heaven your vigils keep,
While on the earth weary mortals rest in sleep.
Welcome, oh, welcome 1 sweet home of quiet calm,
Bringing the sad and the weary healing balm.
186 GO 02) MOHJYING. " Day is breaking .*
Arranged for Three Female Voices from J. W. BERNER.
L Day is breaking o'er tlie hills, Dancing on the lit - tie rills, Rouse we then, my brothers all, Cheer-ly to each oth - er
1. Day is breaking o'er the hills, Dancing on the lit - tie rills, Rouse we then, my brothers all, Cheer-ly to each oth - er
call. . . . Good morning, good morning,
good morning, good morn
187
good morn -
ing, good morn - - ing, good morning.
- ing, good mora - ing
good morn -
ing, good morn - - ing, good morning.
good morning, good morning, good . -
mg,
good. . . morn
ing,
good morning.
2. Welcome back the friendly sun,
He a long night' 9 work has done<
He has been, while we have slept,
Been where many waked and wept.
Good morning, etc.
. Now the bird forsakes his nest,
See his proudly swelling breast ;
While he gayly soars on high,
Singing sweetly through the sky.
Good morning, etc.
4. So we sing our morning song,
We have sung it oft and long.
Every morn 'tis fresh and new.
As yon pearly drop of dew.
Good morning, etc.
188 SAIZIJVG IJV 7'JIJtJ 'BOAT, " Glide, gently </lide." * jos. g^Hobacil
1. Glide, gently glide, The streamlet is wide, . . . While un- der the wil-lows, Far o - ver the bil-lows,
Slowly, p ^ cre^ j J |
1. Glide, gently glide, The streamlet is wide, While un - der the wil-lows, Far o- ver the bil -
1. Glide, gently glide, The streamlet is wide,
smoothly ye float, O beau - ti - ful boat !
in1 ii' : ,\y ii
While un - der the
2. Soft
wil - «
lows, Far
o - ver the bil- lows, So smooth
ly you float, O beau - ti - ful boat !
* The fourth lino in each stanza is repcatcl by the T<
; your swing,
idles could bring,
Now hither, now thither,
We hasten together, .
As smoothly we sail
Through meadow and vale.
3. On banks below
The fresh flowrets blow,
Where odors are sweetest
Our courses are fleetest;
As swift we pass by,
Bloom gladdens the eye.
4. True as the boat
Our hearts too shall float,
While wreathed with the blossoms,
Joy visits our bosoms,
And we with the tide
Still onward shall glide.
192 CAJVOJV. "JYbw Autumn, rich with golden hue." In Four Parts.
Now Au- tumn, rich with gold - en hue, Doth hill and dale a - dorn ; Come, fol T low 1 the mer - ry reap - ers
Now Au- tumn, rich with gold - en hue, Doth hill and dale .a - dorn; Gome, fol - low! the
fol - low ! the mer - ry reap - ers let us view A - mong the yel - low corn. The morn - ing bright, its ro - sy light And
™ — n«n <■■&'■■
dorn ; Come, fol - low ! the mer - ry reap - era let as view A - mong the yel • low oorn.
Th« morn - ing bright, its
194 " JSTarfc ! hear the rain in torrents pour." (Continued.)
to keep us warm. Hear the rain in tor -rents pour ! Hear the rain in tor - rents pour ! And wild - ly rave the
Hark ! hear the rain in tor - rents pour, And wild - ly rave the
rush - ing storm ; Stir up the fire, shut close the door, We will sing to keep us warm. Hear the rain in tor - rents
rush - ing storm ; Stir up the fire, shut close the door, We will sing to keep us warm. Hear the rain in tor - rents
pour ! Hear the rain in tor -rents pour ! We will sing to keep us warm We will sing, we Will sing, we will sing, we will sing, we will
pour ! Hear the rain in tor -rents pour ! And wild-ly rave the rush-ing storm ; Stir up the fire, shut close the door, We will
Hark I hear the rain in tor - rents pour, And wild-ly rave the rush-ing storm ; Stir up the fire, shut close the door, We will
jBMMANU"J?L .
(Concluded.)
197
Son of God, lie bad stood By tho
An - gels veiled their browa bo - fore him when bis power
Now they bend in holy wonder, listening to tbo strains
Sung by Gabriel and his legions o'er tho shepherds' plains :
" Fear yo not ;
I have brought
Tidings of great joy to all.
Unto you is born a Saviour, named Emmanuel 1
All tho chains of sin and danger at his coming fell."
Sudden voices break tho silenco into glorious song,
As tho radiant host of heaven passeth swift along :
" Peace on earth,
By his birth,
Comotb with good-will to men.
Glory in tbo highest bo to Ood I" His will be done
By tho nations from tho rising to tho sotting sun.
198 C&ILDIZJZN'S STfiZWG GHUUTIJVG. " We long thy toy ety face to see." lorenz.
O charming May, -when
wilt thou come, And fill with joy each hap - py home ? "When, O May, when wilt thou come ?" Thus
CJTIZ2)3tJ?JY>S STftING Gft&BTING. (Continued.) 199
gF „
I ear - ly come to thec, Then will I chase the snow a - way, And make both house and gard - en gay, With
w i ■ h 1 f>- w - 1 is 1 — FT" 1 S jN r
will
song
V f<w * V ? ~*\ * M 1 * > r 1 w > * 1
of birds and gold -en light, And clust'ring blos-soms fair and bright. " Come, love - ly May ! Come love - ly May I We
Then haste, 0 May, to thec be - long, Most
ej i \w. * V. V ' 1 * r " V C 1 * > " & ' 1 ' '
long once more thy face to see, Wc long our thanks to of - fer thee ; Then haste, 0 May, to thee be-long,
tm
*302 MO TUT. " Come o'er me, gentle sleep !"
Come ! Coine o'er me, gen-tle sleep, These eye - - lids close ; My spir - it longs for thee, My spir-it
Come o'er me, gen-tle sleep, These wea - ry eye - - lids close - My spir-it
0,04: " Come o'er me, gentle steep / " (Concludkd.)
pose ; Oh, haste ! my spir-it longs for sweet re - pose ; Oh, haste ! my spir - it longs
206 Af2U2i A S1T0WU31. " Setiold the clouds in beauty breaking stolzenberg.
Moderate.
Behold the clouds in beau - ty break-ing ! The bow of promise spans the skies;
Behold the clouds in beau - ty break-ing ! The bow of promise spans the skies ; And happy birds, in song a - wak - ing,Theirjoy ex -
press in tune-ful cries. The hills and vales, how green ! how fair! How bright the sky I how fresh the air! We join in
* A double chorus, each in two parts, for women's voices; with a Base, either instrumental or vocal, which may bo sung by men's or women's voices, thus making a double chorus, each
In three parts.
AFTEli A S&OWUft. (Continued. ) 207
na-ture's grate-ful lays, Our hearts re-joice in songs of praise; "We join in na - ture's grate- ful lays, Our hearts re -
air! In songs of praise, in songs of
na-ture's grate-ful lays, Our hearts re - joice in songs of praise; We join in na - ture's grate-ful lays, Our hearts re -
joice in songs of praise. The hills and vales, how green ! how fair I How bright the sky ! how fresh the air! We join in
praise. The hills and vales, how green ! how fair! how fair I We join in na-tures
joice in songs of praise. The hills and vales, how green ! how fair ! How bright the sky ! how fresh the air ! We join in
208 A StfOWjeft, (Continued.)
na - ture's grate- ful lays, Our hearts re -joicc in song3 of praise, re - joice ! We join in grate -ful
na - ture's grate- ful lays, Our hearts re -joice in songs of praise.
AJPTJEJft A StfOWJ&M. (Continued.) QQ9
We join in na-ture's grate- ful lays, Our hearts re - joice, re - joice. We
AFTUft A SUOW^H. (Continued.) 209
We join in na-ture's grate- ful lays, Our hearts re- joice in songs of praise, We
We join in na-ture's grate- ful lays, Our hearts re - joice, re - joice. We
SOJVG OI1 THAISjE.
Slowly. „
FRANZ ABT. 211
But thewea-ry, sad, and lone -]y Ev-er
1. Praise the Lord ! who loveth ev - er, And his chil-dren ne'er for - sakes
to... his bo - som takes. Praise the Lord ! whose love is ten-der, Tho' the storm - y night he sends, Yet the rain-bow shines more
bright-ly, And to earth new lus-ter lends; Yet the rain-bow shines more brightly, And to earth more lus - ter lends.
^-^^—^^^
. Praise the Lord ! whose heavenly showers,
Fall upon the parched plain ;
Mark the flowers in fullest beauty,
Blest by cool, refreshing rain.
Praise the Lord ! though here surrounded
Oft by sorrow, pain, and strife ;
Yet, thus purified, we ripen
Surely for eternal life.
TITjEJ CUCKOO. (Concluded.)
PP CHORUS.
213
oo ! Cuckoo ! We bear thee sing, and catch the tone, Then turn and sing it, sing it as our own, Cuckoo I Cuck-
We hear thee sing and catch the tone, Then turn and sing it, sing it as our own,
aqq t'HOKUS. *m I =- SOLI. o #0
1 1 i f~ * v * i \
! Cuckoo ! Oh, tell me now the songs - ter's name, Oh ! tell me now the songs-ter's name, Cuckoo ! Cuckoo ! Cuckoo 1
TJIU jFAfljpyVKZZ. " Who is ?ie, thou woodland maze ?"
MENDELSSOHN.
AUa marcia. k v
iipi
rr4 J- 2 'r 1 s T r t-H
1. Who is he, thou woodland maze, Built thee i
p, and thus ar
- ray'd thee ? Ere we part, to him who made thee, We will
fr'i j 1* 8; "I—" — 1 * — * ■ " r
214 2 JIB I7A3Z£?WJ2jLZ,. (Concluded.)
of - fer songs of praise, "We will of - fer, "We will of - fer songs of praise. Fare thee well, Fare thee
Ere- we part to him who made thee, "We will of - fer songs of praise. Fare thee well, Fare thee well,
I I
Fare thee well! sweet wood - land maze! Fare thee well ! Fare thee well ! sweet wood - land maze I
Fare thee well, fare thee well,
Here, beyond the haunts of men,
"While the roes are nimbly bounding,
Cheerful songs and ||: echoes sounding,
Praise his name in every glen ; :|
Fare ye well, each wood and glen.
All the vows we pledge to-day,
Shall be kept when we are parted,
Friends are ever \: constant hearted,
"Whether near, or far away ; :|
Fare ye well, each forest dell.
" Slirds are singing."
AUegretto. , t*s*5
FRANZ ABT. 215
— ■ — — — *-*|-
1. Birds are sing- ing, Flowrets springing, Fresh and green are wood and plain ; Let us haste,
> 1/ * ' — ? — ^~
and free-ly wan-dcr O'er the
Which may not invite in
O'er the mountain,
By the fountain,
'Mong the roses newly blown,
Through the verdant sunny meadows,
Through the wood's refreshing shadows,
We will now with gladness roam.
in - vite in vain, etc.
ITail ! smiling morn." (Continued.) s £17
220 CII&JZlZFirZJY.ESS. (Continued.)
* II .V,
fair, all ver-dant and fair, all ver-dant and fair, all ver-dant and fair, Then the spring-time, the joy - ous bright
spring-time is quick-ly ap - pear-ing, And its perfumes are fill - ing the
CJTUU^RFirZJVJ^SS. (Continued.)
221
SEMI-CHORUS.
Whcn the song of the night-in - gale
— ^— * — ~— t? ■ >- — >~^rM~^ — 5 — £~ ^ — > — — > — > — > — — 9 — ^ — ? — 5^"
floats on the air, gen-tly trill -ing, Thro' the groves with its cch-ocs so sweet, its cch-ocs so sweet, its ech-oes so
222 CJ/IJETiFl/I^YUSS. (Continued.)
TUTTI. ^ 1
B > ^ c > ^ * * >
beat, Tra la la la la la, Tra la la,
- 1 g f i r^T~r~w~s' 'w~}s~m~f i — Pi — r— h
iA^ / / > t J J UU~
Then our puis- es ex-ult-ing-]y beat, Tra la la,
m TUTTI.
J ; s~T
Tra la la, Tra la la,
la. He ,who seek - eth tlie pur - est of pleas - ures, Light-ly hold -ing all per - ish - ing treas - ures, He must
k ps fs Vn — _k s Nr-, — K k H h N—
226 2\HU ITA&PY ZAJVZ).
Allegretto.
1 thou knot? of the land.*
-> — h — I — * — |L
dost thou know of the land tliat 13 fair - est, Where na - ture
hith - er comes from op - pres - sion the stran - ger, To seek for
CJ__-K_-*_J__^_X.J . _J>_^r3jL
has spread her rich a - bun - dant
the boon to all so free - ly
* > h h b
6 ;
m
* — -m — m — 0U
* 1 V k
ble at home and so hon - or'd a
dom and light, ev - cr guard -cd by
hoard,
giv'n,
With fruits a - bound - ing, a-dorn'dwith blos-soms rar - est, So no ■
To find a home ev - cr safe and free from dan - ger, With free
N k S I N S J* J* J> > -J- fc N I
Say, dost thou know. .
so fair
broad? Say, dost thou know
Heav'n. Say, dost thou know, etc.
Oh, yes up - on
*-JfL
1
TJfl? JIATTY ZAND. (Concluded.)
227
its soil we stand,
Up - on its so|l .
we safe - ly stand ;
Up - on its soil
lve safe - ly stand ;
./ A J
its soil we stand,
safe - ly stand,
J> J1 J- J
Hon - or and love, hon - or and love its glo- rv shall com -mand, lion-
j j.jj .j j. ^■^^V i ^
hon - or and love its
J-
Ilon-or and love
=F
glo - ry shall com - mand, Hail, all hail, 0 hap - py land, Hail, all hail, O hap - py land.
A:.A* AAA , , is j I j j A A - A* A_A A
The morn - ing a - wak - eth with o - dor - ous gales, The thick- ets -with mu - sic are ring
The sun with its sum - mons our slum-bers now hail, Then greet him with joy and with sing
Whose hand hath ere - a - ted, whose boun - ty hath given, This earth with its love - ly a - dorn
Who gave to the sun his grand cours - es in heaven ? Who or - dered the night and the morn
of soul and with loud cheer-ful voice, In life and its bless -ings, come let us re - joice.
of mer - cies, thi3 glo - ry dis -played, To Him shall our horn - age be grate -ful - ly paid.
CHRISTMAS SONG.
WOBDS ■WRITTEN FOB THIS MUBIC, BEING A FAVORITE TTBOLE8E MELODY.
229
Largo.
1. Si - lent night! shad - ow-y night! Pur - pie dome, star - ry light! Pour - ing splendor of cen - tu- ries down ;
J J* i J. ! J Jfti. J- J J. J- J J. J»J Jl
Gold and pur -pic, a glo - rl- ous crown, — "Where the manger, so rude and wild, Cra - dies a sleep - ing child!
Silent night ! mystical night 1
Kings and seers sought thy light !
"Where the watch of the shepherd is kept,
Heavenly hosts through the stillness have swept,
Clear proclaiming a Saviour born !
Singing the Christmas morn !
8.
Holy night ! heralding dawn !
Far and near breaks the morn !
Breaks the day when the Saviour of men,
Bringing pardon and healing again —
Holy, harmless, and undefined —
Cometh, a little child !
Haki Hawk.
TIIU HI GUT. (Concluded.) 231
S CIIO 01 "ZAJYG SYjYI7.'>
« i ; it" < ' ; ; * " * " * " P * I I | f j »
i 1. Shall school acquaintance be forgot, And never brought to mincl ? Shall school acquaintance be forgot. And days of auld lang syne ?
^ ^ ^ w N S . § • v 1* w > w i * *. ss * * * * ^ k > * i
232
SCHOOL "ZAJVG SYJVJ?.'
(Concluded.)
How oft we've ran about the fields, And cull'd the flow'rs so fine ! We'll ne'er forget the days, when they Arc days of auld lang syne.
We oft have cheered each other's work,
From mom to day's decline,
And oft shall still the mem'ry rest
On days of auld lang syne.
In distant lands, though we may be,
Across the foamy brine,
Tet shall no future day destroy
The thought of auld lang syne.
Then take the hand that now is warm
Within a hand of thine ;
No distant day shall loose the grasp —
The grasp of auld lang syne.
For auld lang syne, for auld lang syne,
Our love shall never cool ;
We'll have a fondness while we live
For auld lang syne of school.
OZ2)
Old friends Bhall never be forgot,
Whose love was love sincere,
And still, whatever be their lot,
We'll make them welcome here.
The kindness they have often shown
We long have borne in mind ;
And long, we hope, our friends have known
A welcome where to find.
2.
It shall not yet be said with truth
That now our hearts are cold ;
The friends who loved us in our youth,
We'll love when they are old.
And if, in ills which we withstand,
They kind assistance need,
W e'll stretch them forth a helping hand,
And be a friend indeed.
TlfB WATJZS 2>A%TT. "The wind wliispers 2ow.>
Andante. . mf_ S \^ \ ^ \ C1+ ± mP
CARL MARIA v. WEBER.
mf
233
sparkle bright, The skiff on their bo
ters are clear, The sounds from the shore
1. The wind whispers low, And the
2. The heav - ens are smil - ing, The wa
T»nor should *i,ia, of tly. \ S S fv * > > L-^l N U~xfc K h L-s N fc "fc k l^" ^ lS U-s' S
U r» J. j£ A.*LjbL <l + *i ♦ *: A. A jbl A.. A.M. jsl ATA. A A A + AT*
i bounds buoy- ant and light ;
weetly min - gled we hear;
We glide by the shores that seem float - ing a - long, And sing with the wild-birds our blithe morning song.
We bound o'er the wa - ters with bo - soms a3 light, The plash of the waves fills our hearts with de - light.
. -d. e> eL .4.. <aL
r» > I6*
3.
Oh, morning and youth ! how you hasten away !
As perfume of flowers, or garlands in May ;
As whispering zephyrs, or foam on the spray ;
Oh, youth and the morning, you hasten away !
* May b
As lengthen the shadows, and dews gather chill,
As twilight's last smiles touch the tree-top and hill,
Now slowly we turn through the breakers and foam —
Ah ! sweet is the evening, but sweeter is home.
• Glory / Glory f Glory unto God .
" Glory ! Glory ! Glory unto God !"
As they sing,
Echoes ring
Through the ancient hills of God,
Where eternal winter trod ;
Saintly clear,
There we hear :
" Christ is born !
This the morn
Bringing gladness unto all!
He is come, the earth shall call
Saviour ! Helper ! Christ the Lord !
Christ the everlasting word 1"
" Glory ! Glory ! Glory unto God !"
Still they sing —
While they bring
From the western forest's breath,
Echoes hushed in living death;
Till we hear,
Loud and clear ;
" Christ is born !
This the morn
Bringing gladness unto all 1
He is come, whom we shall call
Saviour ! Helper ! Christ the Lord I
Christ the everlasting word !"
4. " Glory ! Glory ! Glory unto God !"
Let us sing
Till we bring
Nations that in darkness die,
Where the Holy Babe doth lie !
Singing clear,
Far and near :
" Christ is born !
This the morn
Bringing gladness unto all !
At His feet the people fall.
Saviour ! Helper ! Christ the Lord !
Christ the everlasting word !"
Makie XUson.
T&JS SUJV. A. MTJHLING.
236 2JBTU StKV. (Concluded.)
on the world be - low ! Its wealth of gold - en treas - lire Sets all the world a - glow, While for our con - stant
Its wealth of gold - en treasure Sets all the world a - glow,
Ten thousand blos-soms blow ! Ten thousand blossoms blow I
2. Still ceaselessly thou sendest
To us thy gifts of old ;
Unsought, unasked, thou spendest
Thy bounteous warmth of gold.
3. Had wc, great orb of splendor.
But half thy charity,
"Were men to men thus tender,
Earth would an Eden be.
I I I I I I
on, And in the qui - et sky The sil - very moon in love looks down, Her vig
rest, Then seek we, too, re - pose ; May peace - ful slum - ber be our guest, Till ear
il keeps on high,
ly mom - ing glows.
238 "Happy, Happier, Happiest."
Bound or Canon in two parts, answered in the interval of a second
Hap - py, "hap - pier, hap - pi - est are they .
love ; That, blessing oth - ers clay by clay, Are ev - er bless - ed from a - bove. Hap-py, hap-pier,
Whose lives are free from self - ish love; That, blessing oth -ers clay by day, Are ev - er bless - ed from a -
bove. Hap-py, hap-py they. Whose lives are free... from self - ish love.
INDEX TO THE FIRST LINES.
A blooming rose ia summer morn 1
After a shower StoHenberg. S
All among the barley Elizabeth Sterling. 1
All nature now is waking Righini.
Already see the daughters of the laad.LTandel.
And dost thou know of the land I
Arise, for the lark 1
Awake and let your songs resound 1
Away we gaily go 1
Banish not hope 0. Lorenz. 1
Beauteous clouds F. Werner. 1
Behold the clouds Stolzenherg. £
Behold the sun Reichard. 2
Birds are singing Fr^nz Abt. 2
Birds in the valley wild 1
Blooming Spring, thee we sing
Bounding billows Franz Abt. 1
Boat song Breidenstein.
Bright be a thousand tapers Mendelssohn. 1
Call to labor. Aubcr. ]
Cease, tender love German Song. 1
Cheerfulness Mozart, i
Children's Spring greeting Lorenz. 1
Christmas carol ^ J
Christmas carol Geo. Jas. Webb.
Christmas song J
Come away, let us go Jos. Gersbach. 1
Come away, merry May F. J. Fischer.
Come, dewy evening German. 1
Come let us roam Mendelssohn.
Come o'er me, gentle sleep S
Come on Nageli.
Come out, 'tis now September.. .Eliz. Sterling.
Coming home. .
M. V. Breul. 121
Day is breaking J. W. Berner. ]
Darkness o'er the world Handel. ]
Deep be thy sleep ]
Deep rolling clouds Rossini. 146
Do the right J. A. Nauman. 153
Early rising Spo forth. 144
Emmanuel 196
Evening German. 176
Evening German. 141
Evening J. Stafford Smith. 114
Evening song Anton Andre. 74
Evening song German. 237
Fair Hope is standing ever Franz Schubert. 122
Fair the day Franz Abt. 102
Farewell, sweet summer flowers Beethoven. 151
Farewell to winter F. Abt. 200
Festival song Mendelssohn. 104
Flowers Beethoven. 151
Forget him not Franz Abt. 224
Friends, we bid you welcome here 73
Gently falls the cooling dew 139
Gently swelling, sleeping ocean 164
Gentle words 109
Giving the poor Stephen Paxton. 130
Glad throb our bosoms Arr. by Boildeau. 72
Glide, gently glide Jos. Gersbach. 188
Glory, glory, glory unto God 234
Glory to God in the highest Schmidt. 178
Going home 115
Good morning J. W. Berner. 186
Good morning Franz Abt. 100
Good night 108
Go weary sun 185
Happy are they Stephen Paxton. 130
Hail, heavenly freedom German. 181
Hail, smiling morn R. Spofforth. 216
Happy, happier, happiest 238
Hark to gentle voices calling M. V. Breul. 121
Hark ! hear the rain Dussek. 193
Haste we from the city's roar 1G0
He shall come down like rain Portogallo. 101
Ho! for the woods Italian, is:;
Home Rambles Franz Abt. 189
Home, sweet home 71
How bright the sunlight's beaming A. MuhHn g. 235
How lovely are the woods Saltier. 11:'.
How sweet is thy song Mendelssohn. 98
How sweetly peal Nageli. 138
I love to see the sunshine Righini. \?M
In a nook so still and green Bonnizetti. 127
In quiet stillness now repose 237
In the sunny beam J. Gersbach. 81
I'm wearin' awa', Jean Scottish Song. 169
I wish thee a happy day Franz Abt. 100
Let the song's loud proclamation 116
Lift thine eyes Mendelssohn. 75
Light from our early days Getry. 132
Love and friendship 139
Love the right 230
Look out for the ice Ferrari. 158
Morning 135
Morning 175
'Mid pleasures and palaces : 71
My every day is clear and bright. . . C. Ereulzer. 106
My hope is secure German. 92
Night 185
Now autumn rich 192
Now haste we homo ■ 115
Now summer's light uncloses Uimmel. 112
Now to all a kind good night . . 10S
Ocean Lullaby from Asaph. 164
Oh ! coldly blows the northern blast. .French. 156
Oh ! how delightfully Mozart. 190
Oh! how softly German. 176
240
Oh! how joyful in the morning T. Weigl. 3
Oh ! 'tis pleasant in our home F. Abt. 1
Oh ! take now this pledge Giardini. 1
Old friends £
Old friends shall never ho forgot £
On lightsome wing . . . .Fred. Mullcr, Vienna.
On the water Mozart. 1
O, welcome spring verdure Nageli. 1
Only one can never fail J. A. Nauman. 1
Old winter now we hid farewell Franz Alt. £
Passing clouds 1
Peace in the vale Donizetti. 1
Play' song Ferrari. 1
Pleasure's hour German. 1
Praise the Lord when J. II. Rolle. 1
Praise the Lord who Franz Abt. £
Praise tho Lord whose Gurlich.
Pull, pull away English. 1
Pure rippling river Paisicllo. 1
Remembrance of early days P. Werner. 1
Returning Spring Vincenzio Righini.
Robin Adair
Sailing in the boat Jos. Gersbach. 'A
School " Lang Syne " £
See the beauty dwelling round German. £
Seethe conq'ring hero Handel. 1
See the golden stars A. Mnhling.
See the sliades of evening.. .J. Stafford Smith. J
Shall school acquaintance be forgot 2
Shed no tear
She's fairer than morning. . . .Scottish Melody. 1
Silent night, shadowy night 2
Sin;,', sing, carol forth merrily German. 1
Sky-lark's song Mendelssohn.
Sleep on 1
Softly glide away BreidcnsU in.
Solfeggio Ill, 1
Song of praise Franz Abt. 2
INDEX TO THE FIRST LINES.
! Spring day Franz Abt.
I Spring verdure Nageli.
: Step it lightly. Ferrari.
! Summer flowers Himmel. 112
! Sunrise , Reic/iard. 205
Sweet is the silent night . . . Vincent Righini.
I Swiftly glide away
I
I Tarry, traveler French Song. 15G
I Thank the Lord Anton Andre. 74
, That strain of music Beethoven. 161
\ 'Tis the last rose of summer Irish Air. 80
The alphabet Mozart. 70
' The blessing of freedom 107
1 The butterfly Frederick Mailer, Vienna. 91
1 The clear morning breaks 135
The cuckoo Jos. Gersbach. 212
', The day is dawning 175
, The farewell Mendelssohn. 213
' The fleeting day 118
The happy land 226
; The honey-moon G. Kreutzer. 106
The hour is near Mendelssohn. 150
The invitation Nageli. 76
> The lake at rest 103
The lark J. Gersbach. 81
The land of the leal Scottish Song. 169
The last rose of summer Irish Air. 80
The light of the morning Spofforth. 144
The morning T. Weigl. 143
The morning 228
The morning awaketh 228
The morning breaks Mendelssohn. 105
The new year William Mason. 86
The night Vincent Righini. 82
The nightingale Mendelssohn. 88
The old bells English. 157
The right 230
The river Paisiello. 172
The Sabbath bell Neukomm. 120
The sea-sido Storace. 166
The sky-lark 128
The sun A. Muhling. 235
The sun beyond the grave German Song. 168
The sunlight comes 124
The sunshine Righini. 136
The true and good 133
The wanderer's return Franz Abt. 155
The water party Carl Maria v. Weber. 233
The wife I seek Scottish. 131
The wind whispers low C. Maria v. Weber. 233
The wood-horn Nageli. 138
The wood minstrels ..." Mendelssohn. 66
The woods Sattler. 113
The world id wide German. 126
Through the wilderness 84
Union 116
We hail the morn Geo. Jos. Webb. 03
We long thy lovely face to see Lorenz. 198
We meet again Mendelssohn. 150
We parted, we who loved so well Caldicell. 160
Welcome day 124
Welcome, friends and kindred dear 73
Welcome home Cherubini. 125
Welcome in the glad new year W. Mason. 86
Welcome to the victor. '. Handel. 94
Welcome, welcome, mighty king Handel. 94
When morn has first her light 118
When the leaves are falling fast German. 96
When the meadow and forest Mozart. 219
When the silver moonbeams Mozart. 148
Where are the swallows fled 152
Where is she 140
Who is he, thou woodland Mendelssohn. 213
Who leads so good and true a life 133
Who sings in the shady thicket grove 212
Work away +. .Auber. 143
Youth .from La Dame Blanche. 72
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